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GEORGE FAULKNER ARMITAGE | The Fine Art Society Drawing, Print and Folio Table
Estimate
10,000 - 15,000 GBP
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Description
- The Fine Art Society Drawing, Print and Folio Table
- mahogany
- 76 by 153 by 92cm., 30 by 60¼ by 36¼in.
- 1849-1937
each short side with a pull-out slide
Provenance
Acquired by The Fine Art Society directly from George Faulkner Armitage in 1888 as part of an overall scheme by the designer for the Entrance Gallery
Exhibited
Huddersfield, Fine Art and Industrial Exhibition, 1883.
Literature
Illustrated, The Editor, 'Pen & Ink Notes', The Cabinet Maker & Art Furnisher, 1 September 1883, vol. IV, p.42;
Illustrated in a drawing by T. Raffles Davison published as 'Rambling Drawing no.171', 'The Fine Art Society's Gallery Anteroom', The British Architect, 2 January 1891, p.5
Illustrated in a drawing by T. Raffles Davison published as 'Rambling Drawing no.171', 'The Fine Art Society's Gallery Anteroom', The British Architect, 2 January 1891, p.5
Condition
Generally in very good order. Probably re-polished but this does not detract. Old marks and scratches consistent with gallery use. Scuffs to stretcher rails. This historic wear does not detract and the piece would make a good gallery table. Heavy.
"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."
"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."
Catalogue Note
This table appears in the Davison drawing as an integral part of the gallery space. It also appears in photographs from the start of the 20th century onwards in various locations at 148 New Bond Street.
Armitage referred to his work for The Fine Art Society as a 'semi-public' commission1 which gives a sense of how he saw the gallery and his own work. At the Huddersfield Exhibition The Cabinet Maker and Art Furnisher review from 1 September 1883 referred to the furniture shown by him (including the present table). The pieces were praised for their 'Utility, strength and comliness'2.
This bespoke piece of 'Gallery' furniture leant itself perfectly to the comfortable and fashionable interior spaces created by Armitage in 1888. These were decorated in a way that would have been recognisable to those visiting. Certainly Davison's drawing of the gallery recalls Armitage's own home. See another Davison drawing published as, Rambling Drawing, no.181, 'A Corner of the bay in the Studio', The British Architect, 6 February 1891, p.103.
Armitage started his career as a woodcarver and spent two years on the Continent on a 'Grand Tour' perfecting his skills as a carver and turner, so he really understood the material he worked with. His workshop and design studio were in his home, Stamford House. Design and execution went 'hand in hand'3. 1. & 2. Rosamond Allwood, George Faulkner Armitage, 1849-1937, Furniture History, 1987, vol. XXIII, p. 69
3. The Editor, The British Architect, 2 January 1891, p.5.
Armitage referred to his work for The Fine Art Society as a 'semi-public' commission1 which gives a sense of how he saw the gallery and his own work. At the Huddersfield Exhibition The Cabinet Maker and Art Furnisher review from 1 September 1883 referred to the furniture shown by him (including the present table). The pieces were praised for their 'Utility, strength and comliness'2.
This bespoke piece of 'Gallery' furniture leant itself perfectly to the comfortable and fashionable interior spaces created by Armitage in 1888. These were decorated in a way that would have been recognisable to those visiting. Certainly Davison's drawing of the gallery recalls Armitage's own home. See another Davison drawing published as, Rambling Drawing, no.181, 'A Corner of the bay in the Studio', The British Architect, 6 February 1891, p.103.
Armitage started his career as a woodcarver and spent two years on the Continent on a 'Grand Tour' perfecting his skills as a carver and turner, so he really understood the material he worked with. His workshop and design studio were in his home, Stamford House. Design and execution went 'hand in hand'3. 1. & 2. Rosamond Allwood, George Faulkner Armitage, 1849-1937, Furniture History, 1987, vol. XXIII, p. 69
3. The Editor, The British Architect, 2 January 1891, p.5.