Lot 334
  • 334

A fine Regency mahogany wine cooler attributed to Gillows circa 1810

Estimate
10,000 - 20,000 USD
bidding is closed

Description

  • mahogany
  • height 26 in.; diameter 26 1/2 in.
  • 66 cm; 67.3 cm

Condition

Overall good condition; the lead-lining with some minor lifting and tears; some old water staining to the rim; some minor nicks and wear to the extremities overall; sturdy.
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.

Catalogue Note

The present wine cooler or 'wine cistern' is nearly identical to a cistern supplied by Gillows to Stephen Tempest of Broughton Hall, North Yorkshire in 1813.  It appears in Gillows Estimate sketch book together with a rectangular version in 1810.  (See Susan E. Stuart, Gillows of Lancaster and London, 1730-1840, Woodbridge, 2008, vol. I, p. 323, plate 376 and vol. II, p. 94, plate 640.)

A similar urn-form cellaret can be found in Thomas Hope's pattern book Househould Furniture and Interior Decorations, London, 1807, plate XIII.  This cellaret is illustrated beneath the design for a large pier table with supports in the form of figures of the Horae, the goddesses of the seasons.  The table was executed for Thomas Hope for the Aurora Room in his Duchess Street townhouse, circa 1800.  The room takes its name from John Flaxman's Aurora Abducting Cephalus, which stood at the focal point of the room hung with azure colored drapery against the walls articulated with black and orange to evoke the colors of the dawn.  (See D. Watkin and P. Hewat-Jaboor, ed. Thomas Hope, Regency Designer, New Haven and London, 2008, p. 378-379, cat. no. 68).