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Loveday Antiques Ltd
Tel01438 869 819Please quote Antiques Atlas.
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Non UK callers :
+44 1438 869 819
Writing Table Attributed Gillows Oxford Street
An Extremely Fine and rare Rosewood and Brass Inlaid Writing Table Attributed to the Oxford Street Workshop of Gillows.
English c.1820-1830
With a raised back comprising a three quarter pierced anthemion brass gallery above a panelled front flanked by acanthus carved pilaster terminals, the interior with an arrangement of pigeonholes, a recess and small drawers with flame figured mahogany veneers, the lower part with a frieze drawer revealing tooled leather insets with an adjustable writing slope and compartments, raised on four turned and reeded tapering legs with acanthus carved knees.
Executed in the finest faded rosewood, this writing table is related to the earlier bonheur du jour or lady's writing table popularised by Thomas Sheraton. Adapted to suit regency fashion, the present piece is altogether more “masculine” in its proportions and design and favours carved detailing and brass inlay for is decorative effect.
Note : One for the connoisseur collector.
Gillows
There are several features of this piece that make a strong case for a Gillows attribution. The reeded bun feet are something of a trademark of the Gillows firm during this period and feature on many antique tables and side cabinets known to have been produced by the firm. The use of very neat pearled and beaded mouldings is also something that is encountered on many pieces made by the firm, as are the reeded and acanthus carved legs which are of very strong late regency form. It is, however, the complex brass inlay work which is the key to making the attribution. In her monograph on the Gillows firm Gillows of Lancaster and London, 1730-1840 Dr Susan Stuart illustrates a group of very fine antique furniture made c.1820-1830 which is by or firmly attributed to the firm and has brass inlay of similar conception and complexity. The monumental Hackwood Park writing table illustrated on p. 289 (plate 306) was known to have been supplied by the Oxford Street workshop to the 2nd Baron Boulton in 1813. The inlay used on the pilasters on this table is very similar in feeling to that on the pilasters on the superstructure on our table. However it is a large library table illustrated in plates 308-310, and also attributed to the Oxford Street workshops that is particularly relevant. Plate 309 shows a close-up of the inlay on the top of this table and the cartouche-type designs in the larger panels appear to be contre-partie versions of the premiere partie work on our table (contre-partie being Boulle work where the predominant decoration is in brass-thus dark on light-and premiere being the opposite with most of the decoration in wood or turtle shell as appropriate and the brass being the secondary part and thus light on dark). In other words, the panels appear to be taken from the same patterns and were almost certainly made in the same workshop.
Dr Stuart's book outlines various theories about the sources of brass inlay work on Gillows pieces, including suggesting that it might have been supplied by George Bullock, the major regency designer and cabinetmaker who specialised in inlay work of this sort. However the Hackwood suite, the library table and our piece seem to have more of a French style in the inlay work-something rather truer to the 17th century pieces produced by Andre Charles Boulle himself-and do not look like the sort of designs Bullock or his workshop would have created. Whoever did design and execute these wonderful panels of grotesques, somewhat in the style of the great 17th century designer Jean Berain, the workshop was every bit as capable as the Bullock one but with a very different aesthetic.
On page 290 of her book, Susan Stuart describes the differences between the two different centres of Gillow production. The surviving Gillows records are almost all concerned with the Lancaster workshop such as the large number of estimate sketch books in Westminster Archives but there are room setting drawings prepared for clients by the Oxford Street workshop which are in the collections of the Victoria and Albert Museum. Comparisons of the pieces illustrated by the Oxford Street workshops with those in the Lancaster estimate books of the same period is instructive. There are no glaring differences in quality between the pieces produced in the two different centres but there are clear differences in terms of fashionable taste. As would be expected, the Oxford Street workshop seems to have been, as Dr. Stuart puts it, “avante-garde” in the nature of the work that was produced there.
This object incorporates old ivory and has been registered with Defra
Ivory License Number 1K6ZWQXB Loveday Antiques is a family run business originally established since 1969 in London. Now in its second generation, Loveday Antiques specialises in an eclectic mix of 18th to 20th Century European furniture and works of art, with a strong emphasis on quality, uniqueness and colour.
As proud members of LAPADA, the largest association for professional art and antique dealers in the United Kingdom and members of CINOA, the worldwide association for antique dealers you can buy from us with 100% confidence and reassurance as we are committed to upholding and abiding by the strict standards of each association.
Our clients can rest assured that each item is as described and photographed.
All Items are sold with 100% satisfaction 14 day money back guarantee, return delivery will be charged for.
FREE UK MAINLAND SHIPPING INCLUDED WITHIN THE PRICE.
(possible surcharge for remote areas of Wales and Scotland)
Delivery within the mainland UK will usually be with 7 to 14 days but please allow up to 28 days. We also ship worldwide with a professional bespoke crating service and large International couriers via air and sea to almost all locations. Please contact us at Loveday Antiques with your full postal address for a very competitive quote.
GOODS
All items listed are in excellent condition having been restored using traditional methods by experienced cabinet makers and polishers keeping the original colour and patina wherever possible.
Please bear in mind you may find the usual markings with antique furniture that are commensurate with age which all add to beauty and uniqueness of the item.
VIEWINGS
We have a reputation for being long established antique dealers in London having had showrooms concurrently running in Islington, Chelsea and Ascot. We have relocated our new showroom, due to London overheads, easily reached between A1 or A10 to just outside of Hertford, Hertfordshire.
We will happily arrange for clients to be collected travelling via train. Local stations being Hertford North, Stevenage and Ware, all being a 10 minute drive from us.
Please contact us for location and appointments.
Telephone 01438 869 819
Email info@lovedayantiques.co.uk
Payments accepted are Bank Transfer, Cheque, Major Credit Cards or Cash.
Opening Times
Monday to Saturday 9.00am - 5.30pm Please email or call beforehand to make an appointment.
If outside of these times again please call to make an appointment
We have more than 40 years experience in supplying Antique furniture to the trade, public and interior designers from all parts of the world so please buy with confidence as we have passed the test of time. PriceSold DimensionsWidth: 44 inches - 112cm Height: 50 1/2 inches - 128cm Depth: 23 inches - 58.5cm Category Antique Furniture Date c.1820-1830 19th Century Antiques Material Rosewood Origin English Maker Gillows Condition Extremely Fine and rare Item code as501a1006 / 2927 Status Sold
SellerLoveday Antiques Ltd
View all stock from
Loveday Antiques Ltd
Private dealer
By appointment only
near Hertford
Hertfordshire
Tel : 01438 869 819
Non UK callers : +44 1438 869 819
English c.1820-1830
With a raised back comprising a three quarter pierced anthemion brass gallery above a panelled front flanked by acanthus carved pilaster terminals, the interior with an arrangement of pigeonholes, a recess and small drawers with flame figured mahogany veneers, the lower part with a frieze drawer revealing tooled leather insets with an adjustable writing slope and compartments, raised on four turned and reeded tapering legs with acanthus carved knees.
Executed in the finest faded rosewood, this writing table is related to the earlier bonheur du jour or lady's writing table popularised by Thomas Sheraton. Adapted to suit regency fashion, the present piece is altogether more “masculine” in its proportions and design and favours carved detailing and brass inlay for is decorative effect.
Note : One for the connoisseur collector.
Gillows
There are several features of this piece that make a strong case for a Gillows attribution. The reeded bun feet are something of a trademark of the Gillows firm during this period and feature on many antique tables and side cabinets known to have been produced by the firm. The use of very neat pearled and beaded mouldings is also something that is encountered on many pieces made by the firm, as are the reeded and acanthus carved legs which are of very strong late regency form. It is, however, the complex brass inlay work which is the key to making the attribution. In her monograph on the Gillows firm Gillows of Lancaster and London, 1730-1840 Dr Susan Stuart illustrates a group of very fine antique furniture made c.1820-1830 which is by or firmly attributed to the firm and has brass inlay of similar conception and complexity. The monumental Hackwood Park writing table illustrated on p. 289 (plate 306) was known to have been supplied by the Oxford Street workshop to the 2nd Baron Boulton in 1813. The inlay used on the pilasters on this table is very similar in feeling to that on the pilasters on the superstructure on our table. However it is a large library table illustrated in plates 308-310, and also attributed to the Oxford Street workshops that is particularly relevant. Plate 309 shows a close-up of the inlay on the top of this table and the cartouche-type designs in the larger panels appear to be contre-partie versions of the premiere partie work on our table (contre-partie being Boulle work where the predominant decoration is in brass-thus dark on light-and premiere being the opposite with most of the decoration in wood or turtle shell as appropriate and the brass being the secondary part and thus light on dark). In other words, the panels appear to be taken from the same patterns and were almost certainly made in the same workshop.
Dr Stuart's book outlines various theories about the sources of brass inlay work on Gillows pieces, including suggesting that it might have been supplied by George Bullock, the major regency designer and cabinetmaker who specialised in inlay work of this sort. However the Hackwood suite, the library table and our piece seem to have more of a French style in the inlay work-something rather truer to the 17th century pieces produced by Andre Charles Boulle himself-and do not look like the sort of designs Bullock or his workshop would have created. Whoever did design and execute these wonderful panels of grotesques, somewhat in the style of the great 17th century designer Jean Berain, the workshop was every bit as capable as the Bullock one but with a very different aesthetic.
On page 290 of her book, Susan Stuart describes the differences between the two different centres of Gillow production. The surviving Gillows records are almost all concerned with the Lancaster workshop such as the large number of estimate sketch books in Westminster Archives but there are room setting drawings prepared for clients by the Oxford Street workshop which are in the collections of the Victoria and Albert Museum. Comparisons of the pieces illustrated by the Oxford Street workshops with those in the Lancaster estimate books of the same period is instructive. There are no glaring differences in quality between the pieces produced in the two different centres but there are clear differences in terms of fashionable taste. As would be expected, the Oxford Street workshop seems to have been, as Dr. Stuart puts it, “avante-garde” in the nature of the work that was produced there.
This object incorporates old ivory and has been registered with Defra
Ivory License Number 1K6ZWQXB Loveday Antiques is a family run business originally established since 1969 in London. Now in its second generation, Loveday Antiques specialises in an eclectic mix of 18th to 20th Century European furniture and works of art, with a strong emphasis on quality, uniqueness and colour.
As proud members of LAPADA, the largest association for professional art and antique dealers in the United Kingdom and members of CINOA, the worldwide association for antique dealers you can buy from us with 100% confidence and reassurance as we are committed to upholding and abiding by the strict standards of each association.
Our clients can rest assured that each item is as described and photographed.
All Items are sold with 100% satisfaction 14 day money back guarantee, return delivery will be charged for.
FREE UK MAINLAND SHIPPING INCLUDED WITHIN THE PRICE.
(possible surcharge for remote areas of Wales and Scotland)
Delivery within the mainland UK will usually be with 7 to 14 days but please allow up to 28 days. We also ship worldwide with a professional bespoke crating service and large International couriers via air and sea to almost all locations. Please contact us at Loveday Antiques with your full postal address for a very competitive quote.
GOODS
All items listed are in excellent condition having been restored using traditional methods by experienced cabinet makers and polishers keeping the original colour and patina wherever possible.
Please bear in mind you may find the usual markings with antique furniture that are commensurate with age which all add to beauty and uniqueness of the item.
VIEWINGS
We have a reputation for being long established antique dealers in London having had showrooms concurrently running in Islington, Chelsea and Ascot. We have relocated our new showroom, due to London overheads, easily reached between A1 or A10 to just outside of Hertford, Hertfordshire.
We will happily arrange for clients to be collected travelling via train. Local stations being Hertford North, Stevenage and Ware, all being a 10 minute drive from us.
Please contact us for location and appointments.
Telephone 01438 869 819
Email info@lovedayantiques.co.uk
Payments accepted are Bank Transfer, Cheque, Major Credit Cards or Cash.
Opening Times
Monday to Saturday 9.00am - 5.30pm Please email or call beforehand to make an appointment.
If outside of these times again please call to make an appointment
We have more than 40 years experience in supplying Antique furniture to the trade, public and interior designers from all parts of the world so please buy with confidence as we have passed the test of time. PriceSold DimensionsWidth: 44 inches - 112cm Height: 50 1/2 inches - 128cm Depth: 23 inches - 58.5cm Category Antique Furniture Date c.1820-1830 19th Century Antiques Material Rosewood Origin English Maker Gillows Condition Extremely Fine and rare Item code as501a1006 / 2927 Status Sold
View all stock from
Loveday Antiques Ltd
Private dealerBy appointment only
near Hertford
Hertfordshire
Tel : 01438 869 819
Non UK callers : +44 1438 869 819
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A Fine Burr Oak Partners Desk
Rare 18Th C. Oval Mahogany & Leather Writing Table
Victorian Satinwood Pedestal Desk
Pretty, late Victorian, solid mahogany bureau.
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