A Regency Gothic Revival parcel-gilt and brass inlaid rosewood writing table, circa 1810, designed by William Porden (c.1755 - 1822) and manufactured by Gillow's of Lancaster

of rectangular form, the moulded top inlaid with a brass frieze of foliate scrolls flanked by trefoil roundels, raised on gothic tracery-carved end standards of hourglass form centring a gilded shield with the Grosvenor family emblem of a 'garb or' or wheatsheaf, joined by a stretcher on leaf carved feet

The Marquesses (later Dukes) of Westminster, Eaton Hall, Cheshire

J. & J. C. Buckler, Views of Eaton Hall in Cheshire, The Seat of the Right Honourable Earl Grosvenor, London, 1826 (fig. 1)

This fantastic writing table, one of a pair – the other still in situ at Eaton Hall, demonstrates the care and meticulous designs of William Porden (1755 – 1822). It has an elegance from the initial draftsmanship joined with the refinement of a master craftsman, all the while championing the favoured Gothic style of Wyatt and Pope. J.C. Buckler visited Eaton between 1823-25 and made a record of the interiors, later engraved and published, providing us with an insight to Porden’s lost vision, even showing us the present lot in its original setting of the Drawing Room (Fig. 1), J. & J. C. Buckler, Views of Eaton Hall in Cheshire, The Seat of the Right Honourable Earl Grosvenor, London, 1826. From this image we can see the offered lot’s connection with Eaton Hall’s architecture - the arches of the stained glass windows and gilt decoration to the settee, work synonymously with the X-frames of the table. It is so in keeping with Porden’s neo-Gothic ideals that there could be no doubt that it was made to his design at the hand of Gillows. Porden’s work on the Hall was instrumental to its future development and the present work is a testament to his diligence and provides a tangible and pivotal example to the development of the neo-Gothic taste.

The striking Gothic design and façade by Alfred Waterhouse (1830 – 1905), the noted architect of the Natural History Museum in London, is often what one thinks of in connection with the seat of the Dukes of Westminster, Eaton Hall. However this reconstruction, in the latter stages of the 19^th century, followed on from an initial move to neo-Gothic style. Richard Grosvenor, 1st Earl Grosvenor (1731 – 1802) was the first of the family to consider reconstruction of the original Carolean house and was approached by the much celebrated Robert Adam to undertake the project, however, most likely due to the Earl’s attention being drawn to a scandalous court case, the work never began. His son Robert Grosvenor, first marquess of Westminster (1767–1845), following a surge in revenue from the family mines a year after his father’s death, would appoint William Porden as the architect for the new Hall.

Porden, pupil to James Wyatt from 1774, had been in the Grosvenor family employ since circa 1789 as surveyor of the London estate. He provided designs for the remodelling to Robert Grosvenor in 1803. Porden provided two potential designs for the remodelling of Eaton Hall, one of the then in vogue neo-Classical style and the other neo-Gothic – this would be the basis from which Waterhouse’s Eaton would emerge. As the Gothic was much more popular with Porden who demonstrates his bias in a letter to the marquess stating of the Gothic ‘with regard to splendour it is far superior, and its variety is infinite’. It is this statement and many others, with an indifference to the marquess’s views, which would earn Porden the nickname ‘bold Porden’ from his employer. This and perhaps Porden’s suggestion of three years to complete his vision at a cost of £15,000 when in reality work would continue until 1814 (fig. 2), and re-commence in 1820, to a sum well in excess of £100,000 by 1812. Indeed the furnishings provided by Gillows of Lancaster surpassed £15,000.

Porden kept a watchful eye and paid every attention to detail to an almost ruthless fashion, which included the furnishings. In another letter to the marquess in 1807 he would state of Gillow's initial designs picked by the Marquess ‘I give you my Opinion with that frankness which becomes an Architect in the Confidence of your lordship. I do not like every thing that your Lordship has chosen, not because they are unhandsome; but they are less so than others that I have seen, which probably your Lordship has not seen.’  Following this letter in 1807 Porden designed the furniture himself, which would be executed by Gillow’s, his reasons become abundantly clear in another letter sent in November 1807 ‘I do not by this interference mean prejudice to your Lordship against Mr Gillow who is an excellent Workman, and able to execute whatever may be directed, but I see nothing that distinguishes him as a man of superior taste.’ Porden would continue his designs well into the 1810’s to ensure the furniture would work harmoniously with the Gothic architecture. 

For further reading with regard to William Porden’s renovations of Eaton Hall see Acloque, Guy and Cornforth, John., Country Life , ‘The Eternal Gothic of Eaton – I’ issue 149, pp. 304 – 307. 11 February 1971. Also the article prepared for the Thesis Furnishing Britain: Gothic as a National Aesthetic 1740 – 1840, by Lindfield-Ott, Peter, Furniture History, ‘The Furnishing of a Gothic Fantasy 1803 – 1825: Eaton Hall, Cheshire’, Vol. XLVIII, pp. 155 – 180, 2012.