A pair of Regency penwork and rosewood D-shaped side cabinets circa 1820

the penwork tops decorated with Neo-classical scenes within floral and foliate borders, and with brass mounted edges, above a drawer and a pair of cupboard doors with trellis grilles enclosing a shelf, on turned feet, minor differences to dimensions

Related Literature: Noël Riley, Furniture History, `Neo-Classical Designs in Penwork', 2001, pp. 51-66

These are both in `country house' condition. The brass edge to one cabinet is loose and bent out of alignment and will need attention. The penwork surface of both cabinets is pitted, scratched and marked. There are veneer losses beneath both doors all around. The trellis grilles could both benefit from cleaning. Pleated silk panels behind grilles is old, faded and distressed. Minor veneer chips to one rear edge to the side of one cabinet. One back foot is loose. Handles probably original. Good colour and patination. No keys. 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."

A closely related penwork top signed and dated Henzell Gouch, 1815, recorded in the collection of the Victoria & Albert museum is illustrated in Frances Collard, Regency Furniture, Woodbridge, 1985, p. 319, pl. 40. The same table and another very similar example signed and dated likewise is illustrated in Christopher Gilbert, The Pictorial Dictionary of Marked London Furniture  1700-1840, 1996, pp.227-8, pls. 406-8. No biographical record of this artist appears to exist which suggests it is the hand of an amateur decorator in common with other surviving examples of penwork.

The technique of penwork variously referred to during the 19th century as `Chinese painting', `imitation ivory inlaying' and `voiding' was predominantly an amateur pusuit which was at the height of fashion during the Regency period. The principle inspiration for this form of decoration according to Ackermann's Repository of Arts (1809-28) was `Indian ivory work', presumably of a similar nature to that produced in Vizagapatam during the 18th century which often featured densely decorated floral borders similar to those on the present tops. Printed designs published in books were a popular source for penwork. These included Stuart & Revett's Antiquities of Athens, D'Hancarville and Tischbein's illustrations of Sir William Hamilton's antiquities and other  related publications by Thomas Kirk, Henry Moses and Rudolph Ackermann.