A matched set of four Regency kingwood, brass inlaid and ebony console tables, in the manner of Morel and Seddon circa 1815-20

the banded tops above friezes with gilt-bronze paterea two panels flanking shaped, burr yew-inlaid tablets on giltwood and gesso volute-scrolled front supports with squared patera headers and in-curved lower platforms

By repute from the collection of the late Queen Mary (1867-1953), Marlborough House, London;

Christie's Manson and Woods, by order of Her Majesty the Queen, had two auctions of property from Marlborough House in the October of 1959 it has not been possible to identify this lot with any of the works offered in those sales. However if this suite does come from Marlborough House it is during this period that these works may have been dispersed prior to the great mansion becoming the headquarters of the Commonwealth Secretariat in 1965.

This suite is of superior quality the tops are particularly notable as the veneers are good, although the brass inlay in some cases has been lifting and is now reset and there is still some lifting to these borders. One of the tops on the pair has an old gouge and the other in this pair has an old repair to the back left. There are also traces of glue, rim chips and other minor repairs to veneers. The group is 'country house condition'. There are old marks and scratches commensurate with age. The gilding is in places dirty there are very minor chips and age cracks to some of these areas, there are also areas of minor retouching. The back of each may well have been fitted with a mirror as there a rebate which may have supported these.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The combination of richly figured veneers, with the softly moulded carved and gilt detail, brass inlay and gilt-brass as seen on these console tables, may be compared to the documented work of Morel and Seddon who were responsible for supplying furniture for the rooms at Windsor Castle which were being re-modelled by Sir Jeffrey Wyattville for George IV in the later part of the 1820 (See: Hugh Roberts, For the King’s Pleasure, 2001).

The design of the scrolled feet and use of acanthus again relate to supports seen on other tables by the firm. The fact that they appear to be have been conceived as a suite and are of differing dimensions, as if to fit very specific architectural 'piers' is interesting as the company were known for their complete decorative schemes for rooms. See a watercolour of the Saloon at Devonshire house from 1822 by William Henry Hunt which not only shows seat furniture, but mirror frames and curtains pelmets attributed to Nicholas Morel who was a supplier to the 6th Duke of Devonshire.

Morel and Seddon’s partnership was primarily formed to carry out the Windsor commission, Nicholas Morel having been chosen as the furniture maker in charge of re-furnishing the Castle. It appears that he was in charge of the major artistic decisions, whereas George Seddon III’s extensive workshops provided experienced draughtsmen managers and skilled workmen, Seddon himself also running the business side of the project. As with Morel and his then partner Robert Hughes’s extensive commission for the re-furnishing of Northumberland House for the Duke of Northumberland in the early 1820’s, the furniture designed for George IV displays the extensive use of not only richly figured rosewood veneers, but also the lighter coloured woods such as satinwood, birch and amboyna, both in the solid and as decorative veneers. Many of the carved elements and mouldings were oil gilded which provides a ‘flatter’ finish which cannot be burnished again, a decorative flourish seen on the scrolled supports of these tables.