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PROPERTY FROM THE COLLECTION OF SIR PETER MOORES CBE DL, REMOVED FROM PARBOLD HALL, LANCASHIRE

A matched set of four Regency kingwood, brass inlaid and ebony console tables, in the manner of Morel and Seddon
circa 1815-20
Lote. Vendido 60,000 GBP (Precio de adjudicación con prima del comprador)
SALTAR AL LOTE
62

PROPERTY FROM THE COLLECTION OF SIR PETER MOORES CBE DL, REMOVED FROM PARBOLD HALL, LANCASHIRE

A matched set of four Regency kingwood, brass inlaid and ebony console tables, in the manner of Morel and Seddon
circa 1815-20
Lote. Vendido 60,000 GBP (Precio de adjudicación con prima del comprador)
SALTAR AL LOTE

Details & Cataloguing

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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
a pair 91cm. high, 110cm. wide, 34.5cm. deep; 2ft.11¾in., 3ft.7¼in., 1ft.1½in. another larger 91cm. high, 111cm. wide, 34.5cm; 2ft. 11¾in., 3ft. 7¾in., 1ft. 1¾in and the smaller 90.5cm. high, 103cm. wide, 34.5cm. deep; 2ft. 11¾in., 3ft. 4¼in., 1ft. 1¾in.
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Procedencia

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.

Nota del catálogo

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.

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