A pair of George III gilt-brass mounted padouk and tulipwood marquetry writing tables circa 1770, in the manner of Pierre Langlois

the serpentine slding tops each with sycamore reserved marquetry panels of flower-filled baskets outlined with amaranth geometric bandings within brass mounted borders, each frieze drawer with a sliding leather lined panel flanked on one side by a till, each frieze with panels of floral marquetry, on tulipwood inlaid cabriole legs, one drawer bearing a manuscript label to the interior `343/ u/ at/ t'

Aspbury Hall, Bridgenorth, Shropshire, sold from the house by auction in the 1950s.

Anonymous sale Sotheby`s London, Important English Furniture, 7th July 1995, lot 66.

Comparative Literature: The Connoisseur Magazine, Peter Thornton & William Rieder, `Pierre Langlois, Ebéniste', parts 1-5 December 1971, February, March, April, May 1972;  The Connoisseur Magazine, Willliam Rieder. ` More on Pierre Langlois', September 1974,  Patrick Broome, The Hyde Park Collection 1965-1990, New York, 1989, pp. 170-171, illustrated.

Table 1 - Water damage to the top. Some creasing and warping to the veneers of the top. Repaired age crack to the top. Restoration to the inlay depicting the basket. Front right hand corner - the veneer has been chipped and filled. Front left hand side patched. Other repairs and patches to marquetry on top. The right hand side is cracked. Cracks in the veneer along the lines of construction to all legs. Bottom edge of the drawer has been chipped and filled. The back of the frieze rather faded. General old marks staining and scratches. Mounts all intact but could benefit from cleaning. Table 2 - A rather crudely repaired crack and two other significant age cracks to the top. Top heavily scratched and slightly warped. Age cracks to the left hand side. Some age cracks along the lines of construction on all of the legs. The back faded. Minor chips to veneers, particularly on back left hand leg. The leather to the drawer rather ink stained and the veneer lifting to one side. Mounts dirty and could benefit from cleaning. General old marks and scratches. The contrast between the maquetry and background veneers is not as good as in table one. For further information on this Lot, please contact the English Furniture Department on 00 44 (0) 207 293-5470.
"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 form of these tables and the use of floral marquetry combined with conspicuous gilt-brass mounts shows the influence of the French emigré cabinet-maker Pierre Langlois. Langlois was one of the leading cabinet-makers in London in 1760s and 1770s working at 39 Tottenham Court Road, London, his workshop specialising in case furniture and tables  in the Louis XV and XVI style, their strong profiles not only betraying the French origins of their design, but also being profusely inlaid with floral marquetry, ornamented with gilt-bronze mounts in the manner of contemporary French fashion. His own trade card states that he made `all Sorts of Fine Cabinets and Commodes made & inlaid in the Politest manner with Brass & Tortoiseshell & Likewise all Rich Ornamental Clock cases and Inlaid work mended with great care..'  The style and technique of his marquetry and the design of his furniture, together with the method of his actual cabinet-making indicate that even if he was not a Frenchman, he served his apprenticeship in that country. It has been suggested  that this was served in the workshop of the Parisian ébéniste Jean-Francois Oeben, his early marquetry being close in technique to him. He shared his workshop with Dominque Jean, a caster and gilder whom is known to have supplied most of the gilt metal mounts used in his furniture.

His French style workmanship enjoyed particular success at a time when war with France place an obvious limit on the importation of French furniture and other luxury goods into England. Langlois` tables and commodes were especially close to the French although they were generally made with wooden tops rather than marble, an apparent concession to English tradition. 

Although he had an extensive relationship with a number of wealthy and prominent patrons, only two pieces survive which are fully documented- a commode supplied to the Duke of Bedford for Woburn Abbey in 1760, at a cost of £78.8.0 and another for the 6th Earl of Coventry for Croome Court in 1764. Other patrons included Lady Louisa Connolly at Castletown, the Duchess of Northumberland at Alnwick, and Horace Walpole at Strawberry Hill.