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A PAIR OF GEORGE II GILTWOOD PIER TABLES ATTRIBUTED TO HENRY FLITCROFT, CIRCA 1740
美国 北京时间
2022年10月22日 开拍 / 2022年10月20日 截止委托
拍品描述 翻译
A PAIR OF GEORGE II GILTWOOD PIER TABLES
ATTRIBUTED TO HENRY FLITCROFT, CIRCA 1740
Each later rectangular Portor marble top above an egg-and-dart border and fluted frieze centered with a male mask wearing a plumed headdress and issuing cornucopia with floral and fruiting garlands and supported by eagle’s head monopodia draped with further garlands and joined by a scrolled stretcher centered with a shell, later faux porphyry plinth with an egg-and-dart border, with printed and inscribed Ann and Gordon Getty Collection inventory label, minor variations in dimensions
34 1/2 in. (87.5 cm.) high, 51 1/2 in. (131 cm.) wide, 24 1/2 in. (62 cm.) deep
the other 33 1/8 in. (84.2 cm.) high, 52 1/4 in. (132.8 cm.) wide, 24 7/8 (63.2 cm.) deep

A PAIR OF GEORGE II GILTWOOD PIER TABLES ATTRIBUTED TO HENRY FLITCROFT, CIRCA 1740 Each later rectangular Portor marble top above an egg-and-dart border and fluted frieze centered with a male mask wearing a plumed headdress and issuing cornucopia with floral and fruiting garlands and supported by eagle’s head monopodia draped with further garlands and joined by a scrolled stretcher centered with a shell, later faux porphyry plinth with an egg-and-dart border, with printed and inscribed Ann and Gordon Getty Collection inventory label, minor variations in dimensions 34 1/2 in. (87.5 cm.) high, 51 1/2 in. (131 cm.) wide, 24 1/2 in. (62 cm.) deep the other 33 1/8 in. (84.2 cm.) high, 52 1/4 in. (132.8 cm.) wide, 24 7/8 (63.2 cm.) deep Possibly commissioned by Sir Hugh Smithson (1715-1786), 4th Bart., later 1st Duke of Northumberland for either Stanwick Hall or Northumberland House. With Mallett, London. Eric Moller, Thorncombe Park, Surrey; Sotheby's, London, 18 November 1993, lot 62. Acquired from the above by Ann and Gordon Getty. P. Macquoid, A History of English Furniture, The Age of Mahogany, London, 1919, fig. 21. P. Macquoid and R. Edwards, The Dictionary of English Furniture, London, 1924-1927, vol. III, p. 262, fig. 27. A. Oswald, 'Albury Park, Surrey, The Home of Helen, Duchess of Northumberland,' Country Life, 1 September 1950, p. 677, fig. 10 (one of the tables now at Alnwick Castle, Northumberland). O. Brackett, English Furniture Illustrated, revised edition, London,1950, p. 155. R. Edwards, The Dictionary of English Furniture, 2nd ed., vol. III, London, 1954, p. 286, fig 37. R.W. Symonds, Furniture Making in Seventeenth and Eighteenth Century England, London, 1955, p. 162, pls. 213-215. C. Gilbert, Furniture at Temple Newsam House and Lotherton Hall, vol. II, London, 1978, p. 356. A. Aymonino, Enlightened Eclecticism: The Grand Design of the 1st Duke and Duchess of Northumberland, London, 2021, p. 270. This Lot is transferred to Christie’s Redstone Post-Sale Facility in Long Island City after 5.00 pm on the last day of the sale. They will be available at Redstone on the following Monday. Property may be transferred at Christie’s discretion following the sale and we advise that you contact Purchaser Payments on +1 212 636 2495 to confirm your property’s location at any given time. This Lot is transferred to Christie’s Redstone Pos… Read more
Lot Essay This sculptural pair of pier tables represent the pinnacle of the Palladian aesthetic and are possibly part of a set of four commissioned by Sir Hugh Smithson (1715-1786) 4th Bart., later Earl Northumberland and 1st Duke of Northumberland. Through his own interest, ambition and virtually unlimited funds he gained a Dukedom and was one of the era’s foremost artistic patrons, becoming an English Medici of the North. Throughout his lifetime, Northumberland employed the country’s pre-eminent architects, artists and craftsmen to remodel and refurbish his vast estates including Alnwick Castle, Stanwick Park and Syon Park, as well as Northumberland House, his London residence. THE DESIGN These tables reflect the fashionable Palladian taste created and promoted by Richard Boyle, 3rd Earl of Burlington (1694-1753), the powerful ‘Architect Earl’ and ‘Apollo of the Arts.’ Although no architect-designer has been specifically identified, it is almost certainly Henry Flitcroft (1697-1769), William Kent’s (1685-1749) disciple and eventual successor. Both men had benefited greatly from the patronage of Lord Burlington whose interests and influence laid the foundation for the Palladian style. In addition to providing designs for Kent, Flitcroft also worked independently for an impressive clientele, including Sarah, Duchess of Marlborough, the 4th Earl of Shaftesbury and the Duke of Cumberland, son of George II. However, with their rich, sculptural carving the design of these pier tables can only be the work of Henry Flitcroft either under Kent’s direction or as an independent commission. An earlier table from around 1730 for Wanstead House, a documented Kent commission and executed by James Richards is the first known Kentian table with spread-winged eagle monopodia and was undoubtedly the prototype for these pier tables. The Wanstead table was part of the fabled 1822 sale of the house contents (lot 24) and was most recently sold from the Hamilton Collection, Lennoxlove House, East Lothian at Sotheby’s, London, 6 July 2021, lot 4 (£189,000). The present tables’ design is more richly naturalistic but it also subtly employs the iconography of Classical Rome; the eagles of Jupiter symbolize air and fire, dolphins for water, and flowers and fruit for earth. They all comprise the four elements which are further offset by the scallop shell signifying the badge of Venus, the Goddess of Love. The attribution of their design to Flitcroft is strengthened by a closely related table with eagle supports supplied by William Kent to the 2nd Earl of Litchfield for Ditchley House, Oxfordshire (1740-2) now at the Victoria and Albert Museum, London [W.6:1, 2-1933] and illustrated below. This commission documents that Flitcroft provided the designs for the drawing room and dining room ceilings, as well as chimney-pieces, internal woodwork and table frames which could certainly include this table. (H. Colvin, A Biographical Dictionary of British Architects 1600-1840, London, 1978, p. 311). Records detailing Flitcroft’s work at Wentworth Woodhouse, Yorkshire links him to another pair of closely related tables. There, he enlarged the east and west front as well as two Doric temples and is thought to have designed a pair from Wentworth Woodhouse which are now at Temple Newsam House, Yorkshire. Other related examples include a stand for a cabinet In the collection of the Duke of Buccleuch at Boughton House, Northamptonshire (T. Murdoch, ed., Boughton House, the English Versailles, London, 1992, p. 135, fig. 135) and a pair of consoles sold from the collection of Lady Bruntisfield, Sotheby’s, London, 23 May 1980, lot 144. Interestingly, a paint analysis has revealed the Getty tables were originally painted white and a related white-painted and parcel-gilt example with a much more streamlined design is at Lamport Hall, Northamptonshire. THE COMMISSION Smithson’s artistic patronage began shortly after his 1740 marriage to Lady Elizabeth Seymour, the only surviving child and sole heiress to the 7th Duke of Somerset (d. 1750). Although he had inherited a fortune of his own, this marriage brought another fortune as well as vast estates and a connection to the extinct Northumberland earldom. Lady Elizabeth Seymour was also a great granddaughter of the last Percy Earl of Northumberland and held the title Baroness Percy. Smithson changed their surname to Percy upon their marriage, succeeded to the title of Earl of Northumberland after Somerset’s death and became the 1st Duke of Northumberland of the third creation in 1766. Stylistically, these pier tables correlate most closely to the complete remodeling and refurbishment of Stanwick Hall, Yorkshire in 1740 which Smithson directed, or his London residence, later called Northumberland House, where he continued the renovation begun by his father-in-law, the Duke of Somerset, after his death in 1750. He had hired the architect Daniel Garrett (d. 1753), a disciple of Lord Burlington, for a Palladian update and these tables could certainly have been commissioned for furnishing their interiors. The two tables currently in the Guards Chamber at Alnwick Castle [DNC 00068 and DNC 00069]. each have a different marble top and lack the later plinths; both are illustrated in the 1930 furniture catalogues in the Northumberland Collection. Their entries align with this premise as one table is recorded as ‘From Stanwick, the Pair to this Table is at 17 Princes Gate;’ that entry notes its missing stretcher and that it was ‘From Northumberland House.’ Although earlier inventories support this claim, sadly none of them date to the time of their original commission to confirm their precise location nor do they document a set of four pier tables. While Palladian designers re-interpreted previous designs to provide something unique to each patron, works were not directly copied, so it would seem highly probable that the Getty tables also originally formed part of the suite supplied to the Duke of Northumberland, possibly originally for Northumberland House. A 1786 inventory for Northumberland House lists carved and gilt tables as well as pier tables but no further details are given except for a pair in the Prayer Room of ‘2 Marble Slabs in carved and gilt frames-4ft 6 by 2ft 4’. These dimensions closely correspond to the present tables but the lack of a more detailed description makes it only a tantalizing possibility. No inventories for Stanwick Park were made after the deaths of both the 1st and 2nd Dukes of Northumberland and the earliest specific mention of the table recorded from Stanwick is from the inventory made after the death of the 4th Duke in 1865 [Sy.H.IX.o]. It appears in the Drawing Room as ‘A 5ft 4 Console table beautifully designed and carved in eagles flowers and masks & surmounted by a slab of rare italian (sic) marble'. Despite this specific entry, it is entirely possible this table was subsequently moved to Stanwick, a minor property within the Ducal holdings from Northumberland House, likely after the large renovation and redecoration of the principal rooms undertaken by Hugh Percy, 3rd Duke of Northumberland (1785-1847) when the Palladian style would have been deeply out of fashion. NORTHUMBERLAND’S LEGACY Lord and Lady Northumberland were amongst the greatest collectors and patrons of the arts of the 18th century, commissioning works from leading artists, architects and craftsmen including Canaletto (1697-1768), Sir Joshua Reynolds (1723-92), Robert Adam (1728-92) and Thomas Chippendale (1718-1779) who dedicated the 1st and 2nd editions of the Director (1754, 1755) to ‘The Right Honourable Hugh Earl of Northumberland.’ Robert Adam designed the interiors for Syon House in the 1760s which included furniture supplied by Chippendale, and Northumberland house was transformed by the celebrated Glass Drawing Room designed between 1773 and 1775. Now partly in the Victoria and Albert Museum, London, it was the most remarkable room of its time and the architect's most idiosyncratic creation. THE MOLLER COLLECTION Eric Moller (d.1988) shipping magnate, the celebrated racehorse owner and polo player along with his brother, Ralph, formed superb collections of English furniture under the almost mythical guidance of R.W. Symonds. Eric Moller began collecting shortly after his marriage in 1943 when he purchased Thorncombe Park in Surrey. Both of the Moller brothers' collections formed the basis of Symonds' 1955 Furniture Making in 17th and 18th Century England which became a benchmark reference book for future connoisseurs as well as an invaluable document in the history of collecting. In addition to the Mollers, Symonds advised some of the most legendary 20th-century collectors of English furniture, including Percival Griffiths, J.S. Sykes, Jim Joel and Samuel Messer. Other pieces from the Moller collection in this sale include a pair of George II mahogany library commodes (lot 629) and a pair of George II giltwood mirrors (lot 447). Christie’s would like the thank Clare Baxter, Collections & Archives Manager to the Duke of Northumberland, for her assistance in cataloguing this lot.

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