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Lot Essay
The chiffonier with its rich veneers and finely executed details may have been executed by George Simson (d.1839) who established his workshop at St. Paul's Churchyard in 1787 and subscribed to Thomas Sheraton's Drawing Book and Cabinet Dictionary. While many of his pieces are labelled, very little is known about his commissions. Some of his pieces featured marquetry and painted decoration such as a table with a central roundel depicting Venus and Cupid. He is accredited with the 'Weeks cabinets', a group incorporating clocks and mechanical curiosities with similar reeded outset corners and lustrous timbers (see C. Gilbert, 'Some Weeks Cabinets Reconsidered', The Connoisseur, May 1971). One from the group is in the collections at the City Museum and Art Gallery, Birmingham (illustrated in R. Fastnedge, Sheraton Furniture, London, 1983, fig.75).
Other chiffoniers of similar form and inlaid decoration include an example from the collection of the Dukes of Norfolk illustrated in situ at Arundel Park, Sussex (C. Musgrave, 'Arundel Park, Sussex', The Connoisseur, June 1963, p. 80, pl. 14). A labelled chiffonier with secretaire drawer and of slightly more severe form is illustrated in C. Gilbert, Pictorial Dictionary of Marked Furniture 1700-1840, 1996, p. 422, fig. 840. Closely related cabinets of varying form but all with the same distinctive shaped and pearl-inlaid panelled drawer fronts include an example illustrated in R. Fastnedge, op. cit., p. 191, fig. 63; another in F. L. Hinckley, The More Significant Regency Furniture 1800-1830, New York, 1991,p. 69,fig. 91 and a pair illustrated by Jeremy in The Connoisseur, October 1972.
The figural prints were executed by the Irish artist and engraver Adam Buck (d. 1833) who was established in London from the 1790s and published a book on Grecian vases in 1812. The medallions, executed in the 'antique' or Pompeiian manner, represent sacrificial ceremonies at the altar of love.
This chiffonier once belonged to the noted collector and philanthropist George D. Widener, Jr. For a full discussion on Widener, please see lot 226.
Other chiffoniers of similar form and inlaid decoration include an example from the collection of the Dukes of Norfolk illustrated in situ at Arundel Park, Sussex (C. Musgrave, 'Arundel Park, Sussex', The Connoisseur, June 1963, p. 80, pl. 14). A labelled chiffonier with secretaire drawer and of slightly more severe form is illustrated in C. Gilbert, Pictorial Dictionary of Marked Furniture 1700-1840, 1996, p. 422, fig. 840. Closely related cabinets of varying form but all with the same distinctive shaped and pearl-inlaid panelled drawer fronts include an example illustrated in R. Fastnedge, op. cit., p. 191, fig. 63; another in F. L. Hinckley, The More Significant Regency Furniture 1800-1830, New York, 1991,p. 69,fig. 91 and a pair illustrated by Jeremy in The Connoisseur, October 1972.
The figural prints were executed by the Irish artist and engraver Adam Buck (d. 1833) who was established in London from the 1790s and published a book on Grecian vases in 1812. The medallions, executed in the 'antique' or Pompeiian manner, represent sacrificial ceremonies at the altar of love.
This chiffonier once belonged to the noted collector and philanthropist George D. Widener, Jr. For a full discussion on Widener, please see lot 226.