Ernest Archibald Taylor (1875 - 1951), manufactured by Wylie & Lochhead, Glasgow circa 1900

mahogany and leaded glass, overhanging cornice, cupboard door with stylised floral design and pierced hinge plates, shaped apron, on four square tapering legs

E.A. Taylor and Jessie King
Miss Merle Taylor
Sotheby's Belgravia, 21 June 1977, lot 379

For a related two-door cabinet exhibited at the Glasgow International Exhibition in 190, 'Glasgow International Exhibition', The Studio, vol. 23 (August 1901), p. 166
For a related single-door display cabinet, J. Taylor, 'A Glasgow Designer: E. A. Taylor', The Studio, vol. 33 (December 1904), p. 218 

Overall in good condition. The case appears to possibly have had a secondary finish at some point. The case with minor nicks, scratches, dents and chips consistent with age use. There are some splits to the cornice, in particular one running horizontally from the left-hand corner for approx 6". The lower portion of the legs with more concentrated areas of scratches and dents as a result of age and use. The entire work with minor signs of warping. The left rear leg with noticeable warping to the lower portion. The warping has made the piece slightly unsteady and uneven in appearance from afar. It is our opinion that professional restoration could alleviate these natural signs of aging. The metal hinges with oxidation and scattered surface discolorations as seen in the catalogue illustration. The wooden frame adjacent to the hinges with a series of dents as a result of contact with the hinges. The door without hardware to keep closed and although the door stays closed, it does very easily open. The stained glass portion of the front of the door with minor warping inward to the lower third. Each of the panes with a slight rattle when touched, which indicates a slight looseness, but appears overall stable. The leading and glass with expected surface dirt and rubbing. The reverse is not finished and it is therefore intended for use against a wall. Interior with two adjustable shelves. The second shelf with a paper label from the Scottish Arts Council and Sotheby's Belgravia paper tag. The same shelf with drip marks made from a stain to the left front corner as displayed in the exhibition.
"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."

A fine art student in his early life, E. A. Taylor soon had to decide whether to follow his 'cherished ambition, that of a stage or pulpit career' (The Studio, 1904, p. 218), or instead to dedicate his life to becoming a full-time furniture designer. He chose the latter, developing a style which combined the traditions of the British Arts and Crafts movement with elements from his Glasgow School contemporaries. Rational forms, natural-coloured wood and the general requirements of the time were combined with stained glass motifs, resulting in pieces which were remarkable for their skilled craftsmanship.

Taylor participated in international exhibitions for Wyllie & Lochhead, displaying complete living spaces. The Studio of 1901 remarks that his contribution at the Glasgow Exhibition is 'interesting, and has evidently been influenced by a careful study of the best modern designers.' Few of his pieces were commissioned and they were very rarely signed or marked, which can make attribution difficult. However, they distinguish themselves by their quality as, The Studio revealed in 1904: '...he takes the most infinite pains, making drawing after drawing, altering a line here, and a colour there, until he gets the exact idea he wishes to express, before entrusting the work to the craftsmen. He visits the workshop again and again while it is in progress, the guiding idea of the artist being that no detail, however secondary it may appear, is unimportant.'