The Family Collection of the late Countess Mountbatten of Burma

The Family Collection of the late Countess Mountbatten of Burma

View full screen - View 1 of Lot 166. A George III faux marble and carved giltwood pedestal, circa 1770, in the manner of John Linnell.

A George III faux marble and carved giltwood pedestal, circa 1770, in the manner of John Linnell

Auction Closed

March 24, 08:41 PM GMT

Estimate

4,000 - 6,000 GBP

Lot Details

Description

A George III faux marble and carved giltwood pedestal

circa 1770, in the manner of John Linnell


the fior di pesco marble inset top over a frieze applied with ribbon-tied foliage on square tapering supports with leaf-carved and beaded borders framing reserves applied with festoons on a green simulated marble ground together with two similar, later, examples with brown figured marble tops, possibly incorporating earlier elements

single 120cm. high, 26.5 by 26.5cm., and pair 123cm. high, 26.5 by 26.5cm.

The 18th century pedestal probably commissioned by Sir Edward Knatchbull, 7th Baronet (1704-1789)
Inventory, 1885, p. 34, in the entrance hall;
Inventory, 1926, p. 20, in the south room;
H. Avray Tipping, ‘Mersham le Hatch’, Country Life, 8 August 1925, photographed in the hall, p. 219;
H. Avray Tipping, English Homes, Late Georgian, 1760-1820, London, 1926, in situ, p. 124;
Peter Thornton, The Furnishing of Mersham-le-Hatch, Apollo, June 1970, p. 451, fig. 14 (where all three are catalogued at 18th century);
Christopher Hussey, English Country Houses, Mid Georgian 1760-1800, London, 1984, in situ, p. 100.

The green japanned-cum-scagliola surface on these remarkable pedestals - the two later examples apparently incorporating this earlier element - is highly unusual but would have been in keeping with Robert Adam's interiors at Mersham and complimented the green japanned furniture supplied by Thomas Chippendale.


Peter Thornton (op. cit., fig. 15) illustrates a design for a pedestal by John Linnell of very similar form, which features neo-classical detailing, and a further closely related example by Linnell also forms part of the Victoria & Albert Museum's extensive collection of his workshop drawings (fig. 1). Whilst they provide an interesting comparison, Linnell is not known to have worked on the Mersham commission and given their architectural form, experimental finish and constructional idiosyncrasies - the fine giltwood leaf mouldings of the 18th century pedestal are pinned as though they were made of gilt-bronze - it is conceivable these were produced by one of Adam's stable of craftsman or an as yet unknown maker Sir Edward employed independently.