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Lot Essay
The description for lot 86 in George Bullock’s stock-in-trade-sale, held by Christie’s from 3rd May 1819 (over three days), closely matches this centre table suggesting it is possibly the one described: ‘A tripod stand, composed of 3 solid brass cranes neck standards, richly gilt with circular Verd top, 2 ft. 2 diameter, on triangular oak and ebonized plinths, inlaid with brass, on gilt lion’s paw feet, and castors’ (sold for £19.5s.0d to ‘Bentley’). The design is closely related to one in the Wilkinson Tracings (held by the City Museums & Art Gallery, Birmingham, p. 109). Another design in the Tracings (p. 201) illustrates a single ‘crane neck’, and a third design further records the use of ‘crane neck’ supports (p. 92). It is closely related to a pair of tables illustrated in George Bullock: Cabinet-maker, exhib. Cat., London, 1988, no. 45 and a further example with a ‘center standard’ and ‘Porphyry Mona top’ is also listed in the stock-in-trade sale, day 3, lot 52.
The design for the base of this table is apparently amongst the earliest collaborations between William Bullock (circa 1773-1849) and his better-known brother, George (1782/3-1818). The design patent was registered by William under the Garrard Act of 21 June 1798, ‘An Act for encouraging the Art of making new Models and Casts of Busts, and other Things therein mentioned’ (M. Levy, ‘The Roman Gallery at the Egyptian Hall, Piccadilly, and some tripods by William Bullock and George Bullock’, Furniture History Society, vol. 33, 1997, p. 237). Inspired by antiquity, and made fashionable in early 19th century publications by, for example, Percier and Fontaine and Thomas Hope, the form illustrates a design at the forefront of Grand Tour-inspired taste (ibid.). The present table is similar to a pair of tripod stands supplied in 1814 by George Bullock to Samuel J. Day of Hinton House, near Bath, now in the Walker Art Gallery, Liverpool. These ‘bronzed Griffin tripods’, according to a statement dated 28 December 1814, had been invoiced on 18 June 1814 at a cost of £18 18s. The ‘2 Circular Do. [bronzed] Pedestals to stand upon’ cost £4 4s’ (ibid., p. 236). The legs of each of the Hinton House tripods are stamped ‘W. BULLOCK PUB. 1 JUNE 1805’.
The ‘Verd’ marble top probably originated from the Mona marble works, which were owned by George Bullock. In 1811, verde antico was described as: ‘a beautiful Green Stone which is found in a part of the island of Angelsea the property of Mr George Bullock’, and in the 1819 catalogue it is referred to as ‘green Mona’ or ‘Mona, verde antique marble’.
The design for the base of this table is apparently amongst the earliest collaborations between William Bullock (circa 1773-1849) and his better-known brother, George (1782/3-1818). The design patent was registered by William under the Garrard Act of 21 June 1798, ‘An Act for encouraging the Art of making new Models and Casts of Busts, and other Things therein mentioned’ (M. Levy, ‘The Roman Gallery at the Egyptian Hall, Piccadilly, and some tripods by William Bullock and George Bullock’, Furniture History Society, vol. 33, 1997, p. 237). Inspired by antiquity, and made fashionable in early 19th century publications by, for example, Percier and Fontaine and Thomas Hope, the form illustrates a design at the forefront of Grand Tour-inspired taste (ibid.). The present table is similar to a pair of tripod stands supplied in 1814 by George Bullock to Samuel J. Day of Hinton House, near Bath, now in the Walker Art Gallery, Liverpool. These ‘bronzed Griffin tripods’, according to a statement dated 28 December 1814, had been invoiced on 18 June 1814 at a cost of £18 18s. The ‘2 Circular Do. [bronzed] Pedestals to stand upon’ cost £4 4s’ (ibid., p. 236). The legs of each of the Hinton House tripods are stamped ‘W. BULLOCK PUB. 1 JUNE 1805’.
The ‘Verd’ marble top probably originated from the Mona marble works, which were owned by George Bullock. In 1811, verde antico was described as: ‘a beautiful Green Stone which is found in a part of the island of Angelsea the property of Mr George Bullock’, and in the 1819 catalogue it is referred to as ‘green Mona’ or ‘Mona, verde antique marble’.