An important pair of Royal Victorian gilt-bronze mounted tulipwood, yewwood, amboyna, harewood, and ivory marquetry center tables London, circa 1870, by Holland & Sons

each drawer stamped HOLLAND & SONS, one drawer stamped QUEEN ALEXANDRA, the same table with a label printed 308 and with pencilled inscription Queen's Spare Room and a partial paper label printed ... QUEEN; the locks stamped SECURE/ PATENT/LOCK.

Albert Edward, Prince of Wales (later King Edward VI) and Princess Alexandra, probably for Marlborough House, London
Sotheby's, London, March 5, 1987, lot 564

Overall very good condition; the ormolu mounts appear to have been cleaned but not regilded and with very minor rubbing in places; the veneers in very good condition and nicely French polished; the ivory cartouches to the corners with some minor hairline age cracks consistent with age; the ivory maintaining its finely gilt engraving; the ormolu is of very good quality and finely cast and chased. Together with a pair of modern conforming glass loose tops which protect the marquetry tops.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present pair of tables is characteristic of the exceptional quality cabinet-making which Holland & Sons employed during the 1860s and 1870s which a contemporary critic described as being able to 'more than hold its own with anything made abroad' (Bevan, op. cit. p. 28)  Conceived in the 'Louis seize' manner, the style of these tables is similar to work by the Royal èbèniste Riesener with a magnificent use of marquetry and ormolu mounts celebrating the Prince and Princess as patrons of the arts and industry in Britain.  Each cartouche to the eight corners of the pair of tables is unique representing a specific art.  The first table includes the arts of music, science, commerce and theatre/poetry.  The other table includes the arts of war, industry, sculpture and painting.

The cartouches are flanked by acanthus leaves and fruiting oak and laurel branches, surmounted by the triple ostrich plume issuing from a crown, the symbol of the Prince of Wales.  The central parquetry field is flanked by a pair of roundels representing the seven liberal arts: Grammar, Logic, Rhetoric, Geometry, Arithmetic, Astronomy and Music.  The decorative scheme and overall design of these tables is similar to other known commissions from Holland and Sons for Marlborough House such as a pair of cabinets made in the same 'Louis seize' style, which were placed in the Great Drawing Room.  One of these cabinets bears a branded MH stamp beneath a crown, indicating Marlborough House.  This cabinet sold at Sotheby's London, March 11, 1994, lot 95 and most recently at Christie's London, March 19, 2008, lot 100.  A similar cabinet by Holland & Sons in the Victoria and Albert Museum (W.11-1972), illustrated in Simon Jervis, High Victorian Design, Ottawa, 1974, no. 76, p. 95, which was sold at Christie's London, The Property of the late Col. H. C. l. Kingsford-Lethbridge, February 25, 1971, lot 172 and its companion writing table, lot 171, are similarly executed in the 'Louis seize' style combining gilt-bronze mounts with elaborate exotic wood and ivory marquetry as seen in the present tables.  Arthur Beavan's description of the Large Drawing Room includes mention of the pair of cabinets which cost '£300 a-piece' and also mentions that 'the occaisonal tables and writing -tables, matching this exquisite pair of cabinets, are also very handsome.' (Beavan, op. cit. p. 28)

Considering the similarity of these tables to the pair of cabinets made by Holland & Sons for Marlborough House and the use of the Prince of Wales emblem as well as the Queen Alexandra stamp, it seems more than likely that the tables were commissioned by the Prince and Princess of Wales in the 1860s/1870s whilst living at Marlborough House, London their official residence.  It also seems plausible that these tables are the ones mentioned by Beavan in his account of the house.

MARLBOROUGH HOUSE

Built in the early years of the eighteenth century, Marlborough House was designed by Sir Christopher Wren for the great Duke of Marlborough, whose descendants continued to occupy this palatial London mansion until the early 18^th century, when it passed to the Crown.  In 1863, the house was occupied by Albert Edward, Prince of Wales, later King Edward VII, and his consort, Princess Alexandra of Denmark, following their marriage on March 10th of that year.  The Royal couple continued to live and entertain at Marlborough House until the Prince's Ascension to the throne in 1901.

In anticipation of the Prince and Princess's arrival, the interior of Marlborough House was extensively remodeled under the direction of the architect Sir James Pennethorne.  A suite of fashionable new reception rooms were created, providing the setting for sumptuous entertainments attended by leading figures from British and foreign society.  As part of these works, which continued for several years, quantities of furniture were ordered from Holland & Sons, one of the Royal cabinetmaking firms.

HOLLAND & SONS

The firm of Holland & Sons first appeared in 1803 as Taprell, Stephen and Holland. The partnership then became Taprell, Holland and Son between 1835 and 1843 when it finally became Holland & Sons. William Holland, who took over as senior partner in 1843, was almost certainly related to the architect Henry Holland. The relationship between builder and cabinet maker is paralleled by another leading Victorian firm, Trollope and Sons. Their earliest known commission was to furnish the Athenaeum, 1824- 1838. They also worked alongside the firm of Thomas Dowbiggin at Osborne House, and eventually took over their premises and business at 23 Mount Street in 1851 and 1853 respectively.

Holland & Sons were the quintessential firm of Victorian cabinet- makers and their style developed over the period between 1851 and 1870, which saw many changes to furniture making in Britain. These changes were stimulated by the series of international exhibitions commencing here in London with the so-called Great Exhibition in the crystal palace and taking place in Paris in 1856, 1867, 1878 and 1889 and again in London in 1862.

Royal commissions included work at Buckingham Palace, Osborne House, Balmoral, Sandringham and Windsor Castle, and their records from 1864 to 1872 devote some eighty-eight double pages exclusively to Marlborough House.

Lastly, it is interesting to note that Holland & Sons exhibited at the 1878 Paris International Exhibition for which The Prince of Wales Pavilion was constructed being devoted to British art manufacturers and designers.  'In connection with furniture, it has been said with truth that both the Prince and Princess have ever since their marriage done their utmost to encourage home manufacture in every department and everything in Marlborough House may, broadly speaking, be said to be of British make' (Beavan, op. cit. p. 55).

See:

Arthur H. Beavan, Marlborough House and its Occupants, Present and Past, London, 1896