Price on application
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About the dealer
About the object
An exceptional demi lune George III satinwood and marquetry console table, the top inlaid throughout with floral sprays and husks radiating out, above an ormolu mounted frieze similarly inlaid and standing on square tapering legs.
English Circa 1780
This wonderful pier table is likely to by the pre-eminent and fashionable Golden Square cabinet-makers John Mayhew (d.1811) and William Ince (d.1804) based on its stylistic relation to their confirmed works. It is closely comparable to a pier table with the same border to the top, in the Upstairs Drawing Room at Burton Agnes, East Yorkshire (A. Oswald, ‘Burton Agnes Hall, Yorkshire – III’, Country Life, 18 June 1953, p. 1975, fig. 10). Although Mayhew and Ince are not known to have worked at Burton Agnes, there are at least two other distinctive commodes in the same room, which are undoubtedly by their hand. Furthermore, similar marquetry banding to that found on the frieze of this table is seen on their confirmed works including the celebrated
Derby House commode and the Shafto commode from Bavington Hall, Northumberland, and on an urn (together with pedestal) supplied by the firm to Lord Kerry in circa 1770 (C. Cator, ‘The Earl of Kerry and Mayhew and Ince: The Idlest Ostentation’, Furniture History Society, vol. 26, 1990, fig. 3).
Mayhew & Ince ( 1736-1803)
Mayhew & Ince produced some of the finest designs, and pieces of furniture during the 18th Century, and in 1762 published a folio of drawings titled the "Universal System of Household Furniture" that was dedicated to the Duke of Marlborough. Its publication was in response to the great success Thomas Chippendale had had with his book of designs " The Gentlemen and Cabinet Makers Director" of which it is know Ince was a subscriber. Mayhew & Ince would have seen at first hand the financial and general commercial benefit of producing a catalogue that circulated around the aristocracy. Mayhew & Ince style leaned toward a more classical influence, and there is evidence to show they had a strong working relationship with Robert Adam, who also favoured a classical influence in his designs.