A George IV gilt-bronze mounted satinwood inlaid gonçalo alves and parcel-gilt centre table, circa 1823, by Morel and Hughes

the circular goncalo alves veneered top inlaid with a continuous band of finely figured satinwood foliate motifs within a gadroon-moulded border, the plain frieze with gilt rope-twist moulding, on three turned tapering columns with leaf-carved giltwood collars centred with a triangular column with an acanthus and palmette-carved giltwood lower section ending on three paw feet, the tricorn base with gilt-bronze stylised scrolled acanthus feet, on brass cappings and castors

Commissioned by Hugh Percy, 3rd Duke of Northumberland (1785-1847) for Northumberland House, London, circa 1823, as part of the extensive Morel and Hughes commission, and photographed in situ shortly before the house was demolished in 1874 (fig. 1);
Property from a Distinguished Private Collection together with lots 14, 31 and 36.

COMPARATIVE LITERATURE:
Margaret Jourdain, Regency Furniture 1795-1830, London, pp. 34-35 and 73;
Frances Collard, Regency Furniture, Antique Collectors' Club, 1985, pp. 132-162;
Hugh Roberts, For the King's Pleasure: The Furnishing and Decoration of George IV's Apartments at Windsor, London, 2001.

Overall in excellent conserved condition. The top with a small loss to the banded border of the satinwood inlay. The top with a restored shrinkage crack and other more minor shrinkage cracks. Overall with minor loses and chips to the gilding, which has been sensitively re-gilt. The gilt-bronze feet are superb quality. Very minor old marks and scratches commensurate with age. Please note, the table was commissioned by Hugh Percy, 3rd Duke of Northumberland (1785-1847) for Northumberland House, London, circa 1823, as part of the extensive Morel and Hughes commission, and is photographed in situ shortly before the house was demolished in 1874.
"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."

This magnificent centre table almost certainly belongs to one of the most important commissions of the 1820s, belonging to a group of furnishings supplied by the fashionable London firm Morel & Hughes to Hugh Percy, 3^rd Duke of Northumberland, as part of their extensive Northumberland House commission between 1822 and 1824. Hauntingly illustrated in a photograph of The Saloon at Northumberland House, taking shortly before the house was demolished, this table represents a precious link to the Ducal splendour of one of London’s great lost houses (see fig. 1).

Of the numerous programmes of improvement to the Percy's beloved London residence, the alterations by Thomas Cundy (1765–1825) in the 1820s were the most ambitious. His extensive refurbishment created an entire suite of new rooms in the South Wing of Northumberland House. Cundy also made modifications to Robert Adam’s famous Glass Drawing Room and added the Grand Staircase; a magnificent and triumphal gilt-bronze mounted marble flight of steps designed by Cundy. Other notable buildings which he built or altered significantly include Syon House, the Duke of Northumberland's other prominent London residence, nearby Osterley and Middleton Park for the Earl of Jersey, Tottenham Park in Wiltshire, Burton Constable in Yorkshire and Hawarden Castle in Flintshire, Wales.

In 1822, the 3rd Duke engaged Nicholas Morel (fl. 1790-1830) and Robert Hughes (fl. 1805-1830) to supply furniture to Northumberland House following its radical renovation. The pair had exceptional pedigree. Morel was part of the Anglo-French band of émigré craftsmen who worked for Henry Holland and Dominque Daguerre in the 1790s, notably at Carlton House. His partnership with Hughes is first recorded in an account for 1st Earl of Bradford at Weston Park dated 4 June 1805 (Phillis Rogers, Journal of the Furniture History Society, 'A Regency Interior: The Remodelling of Weston Park', p. 18, vol. XXIII, 1987). Hughes probably joined Morel the same year the account was recorded (op. cit., p. 11) and they had premises at 13 Great Marlborough Street which were first listed to Morel in Robson's Directory in 1802 and later to Morel & Hughes in 1820.

Throughout their partnership Morel & Hughes enjoyed a rich and discerning client base. The firm supplied the Prince of Wales with furniture for Carlton House between 1810 and 1812. Other noteworthy patrons included the aforementioned 1st Earl of Bradford at Weston Park (1802-03 and 1805-06); the Earl of Mansfield for work at Kenwood (1808); Edward, Lord Lascelles for work at Harewood House, Hanover Square (1809); the Duke of Bedford whom they provided with materials in 1807-08; the Duke of Buccleuch (1813); and the 2nd Marquess of Bath (1813). The Northumberland commission was however their largest and most important, and arguably one of the greatest of the 1820s.

The Napoleonic Wars (1803–1815) did little to impact the English appetite for French design in the first part of the 19th century, and the ‘French’, ‘Antique’ or ‘Louis Quatorze’ manner was one of the most important styles to emerge during this period. The present centre or 'loo' table – so called as it was originally designed for the card game 'lanterloo' - is conceived in this 'French' or 'Antique' style, with a richly figured gonçalo alves top inlaid with a satinwood border of acanthus, palmettes and bell flowers, whilst the overall form of the base recalls the designs of classical altars and pedestals promoted by Charles Heathcote Tatham (1772-1842) and Thomas Hope (1769-1831).

Upon completion of the commission June 1824, the Duke was issued with an invoice totalling £34,111 9s 7d. The Morel & Hughes accounts meticulously document the variety and scale of the commission describing all manner of work. Enlisting the talents of London’s leading craftsman they supplied furnishings and decoration including sumptuous textiles and upholstery, wonderful new ‘Antique’ furniture, richly carved and gilded seat furniture. They were also charged with restoring, enlarging and modernising existing suites and family pieces.

Rudolph Akermann, the great arbiter of taste, referred to the Northumberland commission in his Repository of Arts periodical in March 1825, describing the ‘Splendid furniture lately executed for His Grace the Duke of Northumberland', a testament to the importance and fashionability of Morel & Hughes' work. The commission would have certainly influenced the tastes of other noble families, including the 3rd Duke’s close friend George IV who subsequently instructed Morel to start work at Windsor Castle in 1825, then being extensively re-modelled by Sir Jeffry Wyatville. Less than a year later, Morel abruptly dissolved his partnership with Hughes to form one with George Seddon (1769-1857) in order to complete the Royal Commission. Robert Hughes continued to work extensively for the 3rd Duke, not only with the seasonal opening and closing of Northumberland House, but also upholstery and repair work and supplying a number of pieces of new furniture, particularly for Syon House.