25
An important George III satinwood, marquetry and tulipwood banded demi-lune commode attributed to Gi
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Description
An important George III satinwood, marquetry and tulipwood banded demi-lune commode attributed to Gillows
The top banded in tulipwood with a chevron marquetry banding and centred by an elliptical panel, above a pair of doors centred by oval panels of marquetry shells on a harewood ground and enclosing a shelf, flanked by bowed end panel doors centred by stylised conch shells on harewood grounds, each enclosing two shelves, on square section tapering cross banded feet, the reverse of the commode constructed of four fielded panels, to be sold together with Nora Zeigler's copy of R.W Symonds, "Masterpieces of English Furniture and Clocks" inscribed to Miss L.N Ziegler132cm wide, 57cm deep, 91.5cm high.
Provenance:
The Ziegler family of Ziegler & Co, Carpet manufacturers and merchants, Manchester
Nora Ziegler (1888-1969) and thence by descent to:
Rupert James Mawson Howe (1911-1971) and thence by descent to the vendor.
The commode offered here is attributed to Gillows on the basis of its similarity in both materials, design and construction to the documented Workington Commode supplied by the firm to John Christian Curwen M.P (1756-1828). Both commodes are veneered in satinwood and banded in purplewood and incorporate similar marquetry shells, while the shell decoration on the commode offered here is more complex, the Workington Commode features highly unusual figurative panels. The commodes both have the same ‘French’ feet, overhanging tops and identical detailed chevron banding. The coloured design for the Workington commode appears in the Gillow Estimate Sketch book for 1788 and is reproduced in L.Boynton, Gillow Furniture Designs 1760-1800, Hertfordshire 1995, colour plate 12.
Similar shell marquetry in combination with a plain purplewood elliptical panel on the top appears on the satinwood marquetry card table stamped Gillow of Lancaster and London and illustrated in S. Stuart, Gillow of Lancaster and London, 1730-1840, Vol. 2, Suffolk, 2008, pl.GG63, p.393
In 1788, the prominent cabinetmakers Gillows of Lancaster crafted an exceptional satinwood commode for John Christian, M.P., intended for his Dressing Room at Workington Hall, one of his Cumbrian estates. This semi-circular commode exemplifies the firm’s most ambitious work of the period, featuring four doors, inlaid shell motifs, and elaborate marquetry. The piece cost Gillows £11.5s.0d. to produce and was sold to Christian for £13.18s.0d., yielding a 24% profit.
The commode’s refined design includes rich satinwood veneers with purplewood and tulipwood inlays, a top overhanging slightly to accommodate projecting pilasters, and French feet. The most remarkable decorative elements are the two inlaid ovals on the central doors, depicting a Cumbrian miner and a local girl carrying a “swill” basket—a highly unusual choice in English furniture design, which typically favoured classical or mythological subjects.
Christian, a wealthy landowner with significant mining interests, was known for his progressive political views and advocacy for the working class. A member of the Society of Friends of the People, he likely commissioned these figures as a tribute to the local labour force. The Workington commode is notable not only for its craftsmanship and social symbolism but also because it marks a rare instance where Gillows attempted figural inlay. No other known pieces from the firm during the 18th century include similar motifs.
Christian also commissioned a pair of commodes of this form from the Gillow firm which appear in the Gillow Estimate sketch books for 28 June 1786 and which remain untraced. The pair of commodes were made for his round house ‘Belle Isle’ on Lake Windermere named after his wife, the heiress Isabella Curwen whom he married in 1782. These commodes appear plain in the Gilllow Estimate sketch books but the Gillow historian Ned Pakenham has noted that often, even into the 19th century, Gillows did not always draw detail into their sketches, so handles, marquetry, fluting, reeding and carving will not always be shown or even mentioned in accompanying text in the sketch books but will be there on the executed item
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An important George III satinwood, marquetry and tulipwood banded demi-lune commode attributed to Gillows
The top banded in tulipwood with a chevron marquetry banding and centred by an elliptical panel, above a pair of doors centred by oval panels of marquetry shells on a harewood ground and enclosing a shelf, flanked by bowed end panel doors centred by stylised conch shells on harewood grounds, each enclosing two shelves, on square section tapering cross banded feet, the reverse of the commode constructed of four fielded panels, to be sold together with Nora Zeigler's copy of R.W Symonds, "Masterpieces of English Furniture and Clocks" inscribed to Miss L.N Ziegler132cm wide, 57cm deep, 91.5cm high.
Provenance:
The Ziegler family of Ziegler & Co, Carpet manufacturers and merchants, Manchester
Nora Ziegler (1888-1969) and thence by descent to:
Rupert James Mawson Howe (1911-1971) and thence by descent to the vendor.
The commode offered here is attributed to Gillows on the basis of its similarity in both materials, design and construction to the documented Workington Commode supplied by the firm to John Christian Curwen M.P (1756-1828). Both commodes are veneered in satinwood and banded in purplewood and incorporate similar marquetry shells, while the shell decoration on the commode offered here is more complex, the Workington Commode features highly unusual figurative panels. The commodes both have the same ‘French’ feet, overhanging tops and identical detailed chevron banding. The coloured design for the Workington commode appears in the Gillow Estimate Sketch book for 1788 and is reproduced in L.Boynton, Gillow Furniture Designs 1760-1800, Hertfordshire 1995, colour plate 12.
Similar shell marquetry in combination with a plain purplewood elliptical panel on the top appears on the satinwood marquetry card table stamped Gillow of Lancaster and London and illustrated in S. Stuart, Gillow of Lancaster and London, 1730-1840, Vol. 2, Suffolk, 2008, pl.GG63, p.393
In 1788, the prominent cabinetmakers Gillows of Lancaster crafted an exceptional satinwood commode for John Christian, M.P., intended for his Dressing Room at Workington Hall, one of his Cumbrian estates. This semi-circular commode exemplifies the firm’s most ambitious work of the period, featuring four doors, inlaid shell motifs, and elaborate marquetry. The piece cost Gillows £11.5s.0d. to produce and was sold to Christian for £13.18s.0d., yielding a 24% profit.
The commode’s refined design includes rich satinwood veneers with purplewood and tulipwood inlays, a top overhanging slightly to accommodate projecting pilasters, and French feet. The most remarkable decorative elements are the two inlaid ovals on the central doors, depicting a Cumbrian miner and a local girl carrying a “swill” basket—a highly unusual choice in English furniture design, which typically favoured classical or mythological subjects.
Christian, a wealthy landowner with significant mining interests, was known for his progressive political views and advocacy for the working class. A member of the Society of Friends of the People, he likely commissioned these figures as a tribute to the local labour force. The Workington commode is notable not only for its craftsmanship and social symbolism but also because it marks a rare instance where Gillows attempted figural inlay. No other known pieces from the firm during the 18th century include similar motifs.
Christian also commissioned a pair of commodes of this form from the Gillow firm which appear in the Gillow Estimate sketch books for 28 June 1786 and which remain untraced. The pair of commodes were made for his round house ‘Belle Isle’ on Lake Windermere named after his wife, the heiress Isabella Curwen whom he married in 1782. These commodes appear plain in the Gilllow Estimate sketch books but the Gillow historian Ned Pakenham has noted that often, even into the 19th century, Gillows did not always draw detail into their sketches, so handles, marquetry, fluting, reeding and carving will not always be shown or even mentioned in accompanying text in the sketch books but will be there on the executed item
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Fine & Decorative Interiors including Jewellery
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Henley-on-Thames
Oxfordshire
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Post Sale Collections and Storage Information
All auction purchases should be collected within 7 days of the auction from The Dairy, Stonor, Henley-on-Thames, Oxfordshire, RG9 6HF.
We operate collection of lots strictly by appointment, collection slots are between 10.00am-4.00pm and must be booked in advance.
We can offer postage via Royal Mail Special Delivery for small items at a cost from £40 plus VAT upwards at our discretion, please note we do not send any ceramics or glass.
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£3 per day for pictures and small items
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Full value protection cover for the value of the hammer price with be charged at 0.6% but will not exceed the total value of all other transfer and storage charges.
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Any lots not collected within 90 days after the auction may be sold by us at our discretion, with the proceeds applied to cover all Unpaid Sums including storage and handling charges. In this event any surplus will be paid over to you, and we will claim any shortfall from you as an Unpaid Sum.
Important Information
Please note - Buyer charges
All lots are subject to 25% Buyer's Premium plus VAT and a 3% online commission charge plus VAT
Auction overview
The auction comprises over 340 lots with an extremely wide, interesting range of collecting categories.
Specialist areas include art reference books and auction catalogues, Georgian, Regency, 19th century and Continental furniture and objects, rugs, runners & carpets, silver, ceramics, glassware, Chinese and Japanese ceramics, objects & metalware, fine art, timepieces, pocket and wristwatches and jewellery.
Property from the collection of Nora Ziegler (1888-1969), the granddaughter of the founder of the eponymous carpet manufacturing company, features in the auction and highlights from this group include: lot 25, is an important George III satinwood, marquetry and tulip banded demi-lune commode attributed to Gillows. It is thought that this piece is a precursor to the Workington commode supplied by Gillows in 1785 to the Curwen family, (est. £2,000-4,000 +fees); lot 46, an early 20th century Ziegler carpet, (est. £2,000-3,000 +fees); lot 93, a Victorian etched and gilded glass ewer, decorated with parrots, butterflies and ferns, (est. £250-350 +fees); lot 125, a matched pair of Victorian cut glass claret jugs, by Elkington & Co., Birmingham, both have hinged lids with lion mask finials holding a shield engraved with a ‘P.Z’ monogram for Philip Ziegler and lot 204, a Victorian burr walnut and floral marquetry kidney-shaped writing desk applied with gilt bronze mounts in the manner of Gillows (est. £500-800 +fees).
From other vendors, lots 205-207, a bureau plat (£3,000-5,000 +fees), pair of side tables (£5,000-7,000 +fees) and a bonheur du jour (est. £2,500-3,500 +fees) are attributed to the renowned maker Donald Ross (1830-1916), and are fashioned in satinwood, purplewood and dot marquetry; Ross’s output is particularly associated with dot marquetry inlay as seen in 18th century French furniture. He sold his furniture through a number of high-profile retailers which flourished in the 19th century.
Lots 224 and 225, a late 19th century French tulipwood parquetry and purplewood cross banded occasional table (est. £4,000-6,000 + fees) and a late 19th century French kingwood and tulipwood parquetry bureau plat (est. £3,000-5,000 +fees) are both attributed to Paul Somani (1817-1877). The Venice-born maker of luxury furniture regularly exhibited at the influential Paris and London exhibitions held in the second half of the 19th century, and here he was the recipient of numerous medals.
From a more recent era, lot 278, is a purple tweed bouclé upholstered swivel armchair (est. £200-300) from the 1960s and lot 285, ‘Postcards from The Boys’, a limited edition book (456/2500) of postcards written by John Lennon, Paul McCartney and George Harrison and sent to Ringo Starr.
The auction concludes with wristwatches and jewellery, lot 290 is a Swiss 925 silver cased Omega 15 jewel T17 manual wind gentlemen's wrist watch, circa 1935, (est. £200-300 +fees) and lot 291, a Patek Philippe 18K gold flared rectangular wristwatch, circa 1950's, ref. 1593 (est. £5,000-7,000 + fees), ref. 1593 is known as the ‘Hour Glass’ and was in production from 1944 to the late 1960s. Lot 310, an Art Deco diamond bracelet wristwatch, circa 1925, combines the practicality of timekeeping with the beauty of decorative diamonds in various cuts, (est. £800-1,200 +fees) - a treat for the wrist.
From the selection of jewellery which includes rings, brooches and earrings, lot 314 is a Victorian 18ct gold oval locket pendant with applied cypher, Birmingham 1873, it has a slightly bombé form and opens to reveal glazed compartments (est. £800-1,200 + fees) and lot 321, a sapphire and diamond ring, the oval faceted sapphire is set in an open set mount (est. £300-500 +fees).
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3. When we offer items for consignment at auction, we will usually include in the auction listing a description of the lot and an estimate of potential sale value. We may also choose to include an image or images of the lot. We offer the lot for sale in the auction as it is described in the lead line, ie. the text highlighted in bold, and not as it may be perceived to appear in any image or images which accompany the lot.
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Explanation of catalogue terms
The following wording used in the catalogue have the following meanings:
“Richard Brachenburgh”: in our opinion a work by the artist;
“Attributed to Richard Brachenburgh”: in our opinion probably a work by the artist;
“Studio/Workshop of Richard Brachenburgh”: in our opinion a work by an unknown hand in a studio of the artist which may or may not have been executed under the artist’s direction;
“Circle of Richard Brachenburgh”: in our opinion a work by a hand closely associated with a named artist but not necessarily his pupil;
“Follower of Richard Brachenburgh”: in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil;
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Full value protection cover for the value of the hammer price will be charged at 0.6% but will not exceed the total value of all other transfer and storage charges.
VAT will be applied at the current rate on any charges levied.
Any lots not collected within 90 days after the auction may be sold by us at our discretion, with the proceeds applied to cover all Unpaid Sums including storage and handling charges. In this event any surplus will be paid over to you, and we will claim any shortfall from you as an Unpaid Sum.
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A ‘forgery’ is defined as a work created with the intent to deceive.
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Condition reports and additional images may be available to assist you in evaluating the lot. They are provided free of charge to our buyers and are for guidance only. Before bidding it is your responsibility to ensure you have requested, received and reviewed any condition report.
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The amount owed is calculated as follows:
Royalty for the portion of the hammer price (in Euros):
4% up to 50,000
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1% between 200,000.01 and 350,000
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over 500,000 the lower of 0.25% and 12,500 euro
We will calculate the artist’s resale royalty using the Euro to GBP£ rate of exchange of the European Central Bank on the day of the auction.
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Updated: January 8, 2024
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