Lot 152
  • 152

A George III papîer mâché Pembroke table attributed to Henry Clay, circa 1780

Estimate
6,000 - 9,000 USD
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Description

  • wood, papier mache
  • height 25 in.; width 15 in.; depth 18 3/4 in.
  • 63.5 cm; 38 cm; 47.5 cm

Provenance

Christie's New York, April 15, 2005, lot 333

Literature

Jones, Yvonne, Japanned Papier-Mâché and Tinware c. 1740-1940. Woodbridge, Antique Collectors' Club 2012

The underside of drawer with cutout of Country Life article, 21 November 1968

Condition

Both flaps slightly warped and one with restoration to the D-shaped edge, One hinge loose and could use attention. Old repair to one leg. Top with minor age shrinkage at the joints and with areas of repainting, principally around the border of the oval medallion, but the majority of the original decoration with aventurine lacquer and old craquelure appears to be intact under a later varnish. Scattered minor losses and discolouration. Painted decoration along the moulded edge of the top largely repainted or abraded, but decoration on legs remains in good condition with some refreshment.
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

This table can be securely attributed to the Birmingham artist Henry Clay, a craftsman known to have collaborated with Robert Adam.  By 1772 Clay had patented a process of creating japanned papier mâché objects such a trays, tea caddies and sedan doors, which were known to contemporaries as ‘Clay’s ware’ or ‘baked paper’.  Clay’s successful London outlet was in King Street, Covent Garden, where his trade card described him as ‘Japanner in Ordinary to His Majesty and His Royal Highness The Prince of Wales.  In the 1770s Clay supplied a Pembroke Table with similar classical frieze decoration to the celebrated Etruscan Room designed by Robert Adam at Osterley Park, Middlesex (ill. in Eileen Harris, The Genius of Robert Adam, His Interiors, London 2001, p.176, fig.260).  An identical anthemion frieze also appears on a giltwood and papier mâché centre table recently on the London and Paris art market with Pelham Galleries, and on a corner cupboard in the V&A London (W.1:1,2-2011). In 1816 Clay's workshop was acquired by the Birmingham firm Jennens and Bettridge (fl. 1815-1864), who established outlets in London, Paris and New York and continued to manufacture papier mâché furniture and objects through the third quarter of the 19th century.