Thank you for registering for our auction! You are required to provide: 1. Deposit; 保证金待商议; 2. Copy or images of ID card (front and back) or Passport 3. Images of Credit card (front and back).
A PAIR OF REGENCY MAHOGANY AND EBONISED ATHENIENNE TORCHERES BY MARSH AND TATHAM, CIRCA 1810 Each with circular top part-gadrooned to the underside and terminating in an acorn pendant, on three supports with paw feet and joined by X stretchers centred by a roundel, the triangular bases mounted with satyr masks at the cut corners and joined by berried-laurel swags, with central star motif and plain backs, on paw feet issuing anthemion scrolls and plinth base, one fitted with a cupboard opening by the sliding action of the central star motif 59 in. (150 cm.) high; 18 ? in. (47 cm.) wide; 21 ? in. (54.5 cm.) deep
These important mahogany and ebonised tripods are inspired by a design by the fashionable furniture-designer and exponent of the Regency style, Thomas Hope (1769-1831), which he included in his influential work on interior design, Household Furniture and Interior Decoration, published in 1807. They were made by one of the pre-eminent Regency cabinet-making firms in London, Marsh & Tatham of 13 Mount Street, Grosvenor Square, who were supplying furniture to George, Prince of Wales (later George IV, 1762-1830) at Carlton House, London and the Royal Pavilion, Brighton. Originally, part of a set of six, the tripods were probably purchased by Edward, Viscount Lascelles (1764-1814) to complement his Regency interiors at Harewood House, Yorkshire, the Lascelles family seat.
EDWARD 'BEAU', VISCOUNT LASCELLES
Edward, Viscount Lascelles, the eldest son and heir of Edward, 1st Earl of Harewood (1740-1820), was often mistaken for the Prince of Wales, due to a marked physical resemblance, which earned him the sobriquet ‘Beau’, and for his penchant for dressing in the most fashionable style. Joseph Farrington, art connoisseur and diarist, noted: ‘Young Mr. Lascelles is reckoned very like the Prince of Wales. The Prince is not pleased at it. He calls Lascelles the Pretender’ (1). However, ‘Beau’ Lascelles’ reputation as a collector was recognised during his lifetime; in 1795, the artist, John Hoppner, who painted his portrait on at least two occasions, remarked: ‘Young Mr. Lascelles has a taste for the arts’ (2). According to Farrington, ‘Beau’ Lascelles inherited £30,000 a year, and £200,000 in money on his majority, and although his father the 1st Earl was still the patriarch, 'Beau' Lascelles seems to have been given free rein to design the interiors and refurbish Harewood House, Yorkshire, to make it ‘a centre of artistic patronage’ (3). These tripod stands were part of ‘Beau’ Lascelles’s Regency renovation, described briefly by John Jewell in his 1819 guide to Harewood: ‘Entrance Hall: A magnificent room of the Doric order… lately fitted up in the Egyptian style’ (4).
MARSH & TATHAM
The Harewood archive records three substantial payments to Marsh & Tatham. The first forms part of the 1st Earl's 'Cash Account' for £109, and is dated August 1800; this probably relates to Harewood House, Yorkshire because payments are also made to Thomas Chippendale Junior and Sir Humphrey Repton (5). The second and third payments are listed in ‘Beau’ Lascelles’s personal account books, and these are either for Yorkshire or the London house, also named Harewood: in 1801, Elward Marsh & Tatham Payment for furniture, £172 10s (6), and in 1811, Marsh & Tatham Payment of £65 7s 6d (7).
Marsh & Tatham (subsequently Tatham, Bailey & Sanders) was a partnership between William Marsh (active 1775-1810) and Thomas Tatham (1763-1818); the latter, in his early years, worked for his cousin, John Linnell (1729-96), the celebrated cabinet-maker. From the 1780s, Marsh & Tatham were associated with fashionable architects such as Henry Holland (1745-1806), celebrated for the remodeling of Carlton House, London, and the Royal Pavilion, Brighton for the Prince of Wales/George IV, and commissions for Samuel Whitbread II at Southill, Bedfordshire, and John Russell,