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Lot Essay
This cabinet is attributed to G. Coxed and T. Woster, cabinet-makers trading at 'The White Swan' in St. Paul's Churchyard from circa 1690 until 1736. Coxed and Woster are often associated with so-called 'mulberry' furniture - furniture veneered and stained to resemble tortoiseshell, so producing a rich golden tone. The use of pewter inlay often appeared in their earlier work.
The process of creating this veneer is derived from two methods outlined in Stalker and Parker's Treatise on Japanning and Varnishing, 1688. The chosen veneer (often ash, elm or most commonly, maple), is stained yellow with Aqua fortis (nitric acid) and then rubbed with 'lampblack' (soot). The acid penetrates deeply into areas of soft grain which the lampblack colours richly, giving rise to a three-dimensional effect. The final stage is to pare back the surface until the desired contrast of light and dark is achieved. For a full discussion of the technique and many of the myths surrounding the fashion of stained ash, elm or maple veneering at this date, see A. Bowett, 'Myths of English Furniture History: Mulberry Wood Furniture by Coxed and Woster', Antique Collecting, October 1998, pp. 32-35.
Although Coxed and Woster were in production until 1736, the majority of their 'mulberry wood' furniture was produced between c.1690 and c.1720, the rich appearance of the 'mulberry' being in keeping with the tastes of the time for lavish-looking materials (M. Riccardi-Cubitt, 'Round the Mulberry Bush', Antique Collector, March 1996, pp.80-85).
A very similar cabinet was sold from the stock of Avon Antiques, Bradford-on-Avon, A West Country Tradition, Christie's, London, 21 May 2009, lot 149 (£13,750 including premium).
The process of creating this veneer is derived from two methods outlined in Stalker and Parker's Treatise on Japanning and Varnishing, 1688. The chosen veneer (often ash, elm or most commonly, maple), is stained yellow with Aqua fortis (nitric acid) and then rubbed with 'lampblack' (soot). The acid penetrates deeply into areas of soft grain which the lampblack colours richly, giving rise to a three-dimensional effect. The final stage is to pare back the surface until the desired contrast of light and dark is achieved. For a full discussion of the technique and many of the myths surrounding the fashion of stained ash, elm or maple veneering at this date, see A. Bowett, 'Myths of English Furniture History: Mulberry Wood Furniture by Coxed and Woster', Antique Collecting, October 1998, pp. 32-35.
Although Coxed and Woster were in production until 1736, the majority of their 'mulberry wood' furniture was produced between c.1690 and c.1720, the rich appearance of the 'mulberry' being in keeping with the tastes of the time for lavish-looking materials (M. Riccardi-Cubitt, 'Round the Mulberry Bush', Antique Collector, March 1996, pp.80-85).
A very similar cabinet was sold from the stock of Avon Antiques, Bradford-on-Avon, A West Country Tradition, Christie's, London, 21 May 2009, lot 149 (£13,750 including premium).