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Lot Essay
This beautifully carved table with its precious lacquer top relates to those popularized by the Rome-trained artist William Kent (d.1748). The design evokes the triumph of Venus, with embowed dolphins in the manner of Kent's 'fountain' tail-piece illustrating Alexander Pope's translation of Homer's Odyssey, 1725/6 (see M. Wilson, William Kent, 1984, fig. 18). Similar tables were designed for Kensington Palace under the direction of Kent in his role as 'Master Carpenter' to King George II's Architectural Board of Works, and also featured the nature deity’s shell (see D. Watkin, The Royal Interiors of Regency England, London, 1984, p. 67).
The initial design for console tables with dolphin supports designed in the George II Roman fashion was possibly conceived by the architect Henry Flitcroft, Clerk to the Board of Works, under the direction of William Kent. One such example was made for John, 2nd Duke of Montagu (d. 1749). Flitcroft supervised the building and furnishing of Montagu's residence at Privy Gardens, Whitehall Palace. A group of Palladian furniture is known to have been removed from Whitehall to Montagu's house at Boughton, Northamptonshire, which may have included a nearly identical pair of dolphin pier tables. Those tables, which remain at Boughton House, are attributed to Flitcroft and Benjamin Goodison (d. 1767). Payments to Goodison from Montagu appear in the Boughton House accounts from 1737-1742 (T. Murdoch (ed.), Boughton House, 1992, p. 135, fig. 136, n. 27). Goodison is also known to have supplied a 'carved and gilt dolphin frame to match another' to George Brudenell, 4th Earl of Cardigan (d. 1790) in 1741, who also employed Flitcroft as architect for his London residence in Dover Street in 1732. Related examples sold are: a pair possibly formerly at Rushbrooke Hall, Suffolk and sold anonymously, Christie's, New York, 20 January 1995, lot 452 ($189,500); a single table from the collection of Sir John Ramsden, Bt. and illustrated in P. Macquoid & R. Edwards, Dictionary of English Furniture, 1954, rev. ed., Vol. III, p. 287, fig. 42 and its pair sold from the collection of Walter P. Chrysler, Parke Bernet Galleries, New York, 7 May 1960, lot 490; a single table illustrated by Partridge, Summer Exhibition, 1990, no. 13; a single table sold by the late O.V. Watney, Esq., Cornbury Park, Christie's, London, 22 May 1967, lot 15; and another single table offered by the 10th Duke of Northumberland's Will Trust, Sotheby's at Syon House, 14-16 May 1997, lot 32.
While most other recorded examples have solid or veneered-marble tops, the table offered here incorporates a precious panel of 17th century Japanese lacquer. This rare combination of gilt-gesso and lacquer recalls the celebrated Royal prototypes supplied by Gerrit Jensen and Thomas Pelletier for Queen Anne's use at St. James's Palace following her accession in 1702. They are recorded in the Lord Chamberlain's Papers for 1704-5: 'Gerrit Jensen, Cabinet Maker...At St. James's...For making up two tables of the tops of the Indian cabinet with carv'd guilded frames to them..£44.’
This unusual combination is also seen on the celebrated dressing table at Longford Castle, Wiltshire, which was probably supplied for Sir Jacob de Bouverie (created 1st Viscount Folkestone in 1747) when he succeeded his brother in 1736 (R. Edwards, ed., The Dictionary of English Furniture, rev.ed., 1954, vol. III, p. 225, fig. 6). Lord Folkestone employed many of the leading London cabinet-makers of his day, notably Benjamin Goodison, who was apprenticed to James Moore from about 1720 and succeeded him as cabinet-maker to the Royal household. Moore (d. 1726) supplied large quantities of gilt-gesso furniture in the fashionable French taste for the Royal palaces and other aristocratic patrons, and in rare instances combined gilt-gesso with lacquer, as on a set of four chairs attributed to him which combine Chinese lacquer with gilt-gesso frames, supplied to Sir Robert Walpole, later 1st Earl of Orford (d.1745) for Houghton Hall, Norfolk. Benjamin Goodison (d.1767) had premises at the 'Golden Spread Eagle', Long Acre, London, and records indicate that it is assumed that Goodison succeeded Moore in royal service in 1726-27 and from the late 1730s received payments from the Great Wardrobe along with Kent and others. Goodison's close association with Kent and his experience working with Moore makes him a likely candidate as the carver of this rare table.
THE HISTORY OF STUDLEY ROYAL, THE VYNERS AND THE AISLABIES
The estate of Studley Royal is situated in North Yorkshire, and sits on the historic grounds of Fountains Abbey and Hall, and was originally a medieval manor house. It was inherited by John Aislabie and his second wife, Mary, the eldest daughter of Sir John Mallory of Studley Royal, on the death of John's elder brother, George, in 1693. Aislabie was an active politician, campaigning vigorously on trade issues, although his allegiances were rather ambiguous and had a rather tumultuous career. Passionate about the estate grounds, he created the celebrated Water Gardens, and with his son William Aislabie was responsible for the fantastic vistas and elaborate formal design, which were inspired by French water gardens, such as the elegant parterre at Chantilly. The Palladian architect, Colen Campbell, offered advice, but otherwise, John Aislabie appears to have had no formal assistance in his endeavors. William Aislabie succeeded to the estates on his father's death in 1742 and purchased Fountains Hall in 1767. The famous pagoda situated on the grounds was built between 1744-47, no doubt inspired by William Kent’s ‘House of Confucius’ built at Kew Palace for the Prince of Wales from 1731-35. Studley Royal and Fountains Hall passed to William Aislabie's granddaughter, Elizabeth Sophia Lawrence, who died unmarried in 1845. She left the joint estates to her distant relation Frederick John Robinson, 1st Earl of Ripon. On his death, the estates passed to his son, Frederick Samuel Robinson, later 1st Marquess of Ripon, who married his cousin Henrietta Vyner; their son was the 2nd Marquess, heir to the estates. The Robinsons and Vyners intermarried and lived on adjoining properties in Yorkshire in the 19th century; these included Newby Hall and Fountains Hall. The records of the Robinson and Vyner families are preserved in the National Archives, and it is presumed the present table was passed down through the various owners.
The initial design for console tables with dolphin supports designed in the George II Roman fashion was possibly conceived by the architect Henry Flitcroft, Clerk to the Board of Works, under the direction of William Kent. One such example was made for John, 2nd Duke of Montagu (d. 1749). Flitcroft supervised the building and furnishing of Montagu's residence at Privy Gardens, Whitehall Palace. A group of Palladian furniture is known to have been removed from Whitehall to Montagu's house at Boughton, Northamptonshire, which may have included a nearly identical pair of dolphin pier tables. Those tables, which remain at Boughton House, are attributed to Flitcroft and Benjamin Goodison (d. 1767). Payments to Goodison from Montagu appear in the Boughton House accounts from 1737-1742 (T. Murdoch (ed.), Boughton House, 1992, p. 135, fig. 136, n. 27). Goodison is also known to have supplied a 'carved and gilt dolphin frame to match another' to George Brudenell, 4th Earl of Cardigan (d. 1790) in 1741, who also employed Flitcroft as architect for his London residence in Dover Street in 1732. Related examples sold are: a pair possibly formerly at Rushbrooke Hall, Suffolk and sold anonymously, Christie's, New York, 20 January 1995, lot 452 ($189,500); a single table from the collection of Sir John Ramsden, Bt. and illustrated in P. Macquoid & R. Edwards, Dictionary of English Furniture, 1954, rev. ed., Vol. III, p. 287, fig. 42 and its pair sold from the collection of Walter P. Chrysler, Parke Bernet Galleries, New York, 7 May 1960, lot 490; a single table illustrated by Partridge, Summer Exhibition, 1990, no. 13; a single table sold by the late O.V. Watney, Esq., Cornbury Park, Christie's, London, 22 May 1967, lot 15; and another single table offered by the 10th Duke of Northumberland's Will Trust, Sotheby's at Syon House, 14-16 May 1997, lot 32.
While most other recorded examples have solid or veneered-marble tops, the table offered here incorporates a precious panel of 17th century Japanese lacquer. This rare combination of gilt-gesso and lacquer recalls the celebrated Royal prototypes supplied by Gerrit Jensen and Thomas Pelletier for Queen Anne's use at St. James's Palace following her accession in 1702. They are recorded in the Lord Chamberlain's Papers for 1704-5: 'Gerrit Jensen, Cabinet Maker...At St. James's...For making up two tables of the tops of the Indian cabinet with carv'd guilded frames to them..£44.’
This unusual combination is also seen on the celebrated dressing table at Longford Castle, Wiltshire, which was probably supplied for Sir Jacob de Bouverie (created 1st Viscount Folkestone in 1747) when he succeeded his brother in 1736 (R. Edwards, ed., The Dictionary of English Furniture, rev.ed., 1954, vol. III, p. 225, fig. 6). Lord Folkestone employed many of the leading London cabinet-makers of his day, notably Benjamin Goodison, who was apprenticed to James Moore from about 1720 and succeeded him as cabinet-maker to the Royal household. Moore (d. 1726) supplied large quantities of gilt-gesso furniture in the fashionable French taste for the Royal palaces and other aristocratic patrons, and in rare instances combined gilt-gesso with lacquer, as on a set of four chairs attributed to him which combine Chinese lacquer with gilt-gesso frames, supplied to Sir Robert Walpole, later 1st Earl of Orford (d.1745) for Houghton Hall, Norfolk. Benjamin Goodison (d.1767) had premises at the 'Golden Spread Eagle', Long Acre, London, and records indicate that it is assumed that Goodison succeeded Moore in royal service in 1726-27 and from the late 1730s received payments from the Great Wardrobe along with Kent and others. Goodison's close association with Kent and his experience working with Moore makes him a likely candidate as the carver of this rare table.
THE HISTORY OF STUDLEY ROYAL, THE VYNERS AND THE AISLABIES
The estate of Studley Royal is situated in North Yorkshire, and sits on the historic grounds of Fountains Abbey and Hall, and was originally a medieval manor house. It was inherited by John Aislabie and his second wife, Mary, the eldest daughter of Sir John Mallory of Studley Royal, on the death of John's elder brother, George, in 1693. Aislabie was an active politician, campaigning vigorously on trade issues, although his allegiances were rather ambiguous and had a rather tumultuous career. Passionate about the estate grounds, he created the celebrated Water Gardens, and with his son William Aislabie was responsible for the fantastic vistas and elaborate formal design, which were inspired by French water gardens, such as the elegant parterre at Chantilly. The Palladian architect, Colen Campbell, offered advice, but otherwise, John Aislabie appears to have had no formal assistance in his endeavors. William Aislabie succeeded to the estates on his father's death in 1742 and purchased Fountains Hall in 1767. The famous pagoda situated on the grounds was built between 1744-47, no doubt inspired by William Kent’s ‘House of Confucius’ built at Kew Palace for the Prince of Wales from 1731-35. Studley Royal and Fountains Hall passed to William Aislabie's granddaughter, Elizabeth Sophia Lawrence, who died unmarried in 1845. She left the joint estates to her distant relation Frederick John Robinson, 1st Earl of Ripon. On his death, the estates passed to his son, Frederick Samuel Robinson, later 1st Marquess of Ripon, who married his cousin Henrietta Vyner; their son was the 2nd Marquess, heir to the estates. The Robinsons and Vyners intermarried and lived on adjoining properties in Yorkshire in the 19th century; these included Newby Hall and Fountains Hall. The records of the Robinson and Vyner families are preserved in the National Archives, and it is presumed the present table was passed down through the various owners.