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拍品专文
The ‘tripod’ pattern derives from an Adam design of 1772 executed for the Earl of Bute at Luton Hoo and published in The Work of Robert and James Adam, vol. III, pl. XI (see E. Harris, The Furniture of Robert Adam, London, 1963, pl. 62). However, the stylized manner of the ornament, in particular, the lion mask and paw feet and the use of mahogany suggests a slightly date of around 1800 when architect Charles Heathcote Tatham and Thomas Sheraton were producing their own designs inspired by the same antique Roman sources. Tatham’s Etchings of Grecian and Roman Architectural Ornament (1806) advises: ‘The works of the Ancients teach us what objects we are to select for imitation and the method in which they may be combined for effect’.
The lion monopodia derive from marble antiquities such as those in Tatham's own collection that he assembled during his studies in Rome in the mid-1790s and his drawings were used as a design source for fashionable furniture produced at the time. This includes the magnificent stand, with similarly carved lion masks, later acquired for Kenwood House, Hampstead and based on an original marble at the Vatican Museum (Tatham’s Etchings, pl. 88) (D. Udy, ‘The Neo-Classicism of Charles Heathcote Tatham’, The Connoisseur, August 1971, pp. 275-276, figs. 6-7).
An impressive set of eighteen dining chairs by Marsh and Tatham (the latter being the brother of the architect), supplied for the 2nd Earl Talbot of Hensol (d. 1849) at Ingestre Hall, Staffordshire, are again carved with similar lion features. The Talbot chairs (sold Christie's London, 7 June 2007, lot 100) follow a design published by Thomas Sheraton in 1804. A similar pair of lion monopodia consoles, carved with low relief anthemia, was sold Christie’s, New York, 7 June 2012, lot 379.
The lion monopodia derive from marble antiquities such as those in Tatham's own collection that he assembled during his studies in Rome in the mid-1790s and his drawings were used as a design source for fashionable furniture produced at the time. This includes the magnificent stand, with similarly carved lion masks, later acquired for Kenwood House, Hampstead and based on an original marble at the Vatican Museum (Tatham’s Etchings, pl. 88) (D. Udy, ‘The Neo-Classicism of Charles Heathcote Tatham’, The Connoisseur, August 1971, pp. 275-276, figs. 6-7).
An impressive set of eighteen dining chairs by Marsh and Tatham (the latter being the brother of the architect), supplied for the 2nd Earl Talbot of Hensol (d. 1849) at Ingestre Hall, Staffordshire, are again carved with similar lion features. The Talbot chairs (sold Christie's London, 7 June 2007, lot 100) follow a design published by Thomas Sheraton in 1804. A similar pair of lion monopodia consoles, carved with low relief anthemia, was sold Christie’s, New York, 7 June 2012, lot 379.