A pair of Regency revival parcel-gilt ebonized penwork side cabinets

variation to neo-classical decoration to both

Kentshire Galleries, New York

Ready to place with interesting decoration. Overall in good condition. Decoration with wear and rubbing; inpainting to areas of loss and some restorations and repainting with the most prominent being to the left side of one top that also has some areas of infill. The drawers both have more wear to the ebonized decoration and penwork. Regilt, now with losses to gesso and wear to gilding. Usual scratches, nicks, and abrasions.
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 technique of penwork variously referred to during the 19th century as 'Chinese painting', 'imitation ivory inlaying' and 'voiding' was predominantly an amateur pursuit 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.

Interestingly the Egyptian caryatid pilasters incorporating distinctive reserves of horizontal ridged lines imitates the work of the Regency cabinetmaker James Newton, see Giles Elwood, The Furniture History Society, 'James Newton', 1995, vol. XXXI, p. 129-205. Newton's clients included a number of aristocratic patrons which included the Earl of Exeter from whom he produced an extensive body of work for Burghley and the Earl's London home, Sir Gilbert Heathcote, George, 5th Earl of Jersey and the 4th Duke of Buccleuch.