{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1501762"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1501762/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2022NF6427/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2022NF6427/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2022NF6427","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6428","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6429","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6430","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6431","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6432","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6433","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1501762/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1501762","accessionNumber":"W.6-2019","objectType":"Pier Table","titles":[],"summaryDescription":"Harewood House, listed Grade I, sits in the heart of Yorkshire and is one of the Treasure Houses of England. It was designed by John Carr (1723-1807) for Edwin Lascelles in 1759. Robert Adam (1728-92) designed much of the interior and the building was altered by Charles Barry (1795-1860) in 1843. The House has some of the finest interiors in the region, with work by Joseph Rose, Angelica Kaufmann, Antonio Zucchi and Biagio Rebecca. \n\nAdam decorated the house in a neoclassical manner and employed specialist artists and craftsmen, among them the plasterers John Dodgson, William Collins and in particular Joseph Rose and his assistant Richard Mott, responsible for the state rooms; John Devall, master mason to George III, who did many of the marble chimney pieces, the finest perhaps that in the Music Room; and the cabinet-maker Thomas Chippendale for frames for mirrors and paintings as well as suites of furniture to his own and Adam’s designs.\n\nThomas Chippendale was born in Otley, Yorkshire. He was an only child, born into a family of Yorkshire carpenters. Details of his early career are unknown but in 1748, aged 30, he moved to London where he set up as a cabinet-maker, married and had a large family. In 1754 he published The Gentleman and Cabinet-Maker’s Director, a pattern book that was to secure his position as one of the most eminent cabinet-makers of the 18th century.\n\r\nThese pier tables and pier glasses were conceived by Chippendale as part of Robert Adam’s plans for a unified Music Room, a harmonised circular space which creates a sense of movement and melody. The tables have elaborate marquetry tops, with carved and gilded bases and represent some of the finest surviving marquetry by Chippendale. \n\nArts Council England, Cultural Gifts Scheme &amp; Accepance in Lieu Report, 2019","physicalDescription":"One of a pair of George III marquetry and giltwood pier tables. The rectangular top inlaid with elaborate paterae and foliage in various woods on an Indian rosewood ground. The carved wood frame formed of six square section tapering legs and a frieze decorated with applied anthemion ornament, centred with a carved satyr mask and joined by carved swags of husk ornament. The whole gilded in two-tone matt and burnished gold leaf. \n\nTable Frame:\nThe frieze, frame and six legs are executed in softwood. The front and back corner legs are jointed to the frieze frame with a mortice and tenon and lapped joint secured with a screw. The table frame is joined at the corners with dovetail joints. The centre front legs are jointed to the front frieze rail with a lapped joint, secured with a screw. The table frame is joined at the corners with dovetail joints.The front legs are jointed to the front frieze with a lapped joint secured with a screw. The table frame has a central rail is secured with dovetail-housings All the ornament is carved and gilded. The tongue and bead moulding at the top is applied, pinned and glued. The carved anthemion decoration in the frieze is attached to a square section moulding at the top and bottom,these are both pinned and glued to the frieze. All the anthemion frieze decoration on this table is replacement carving. The applied carving here has been removed and re-fixed at least once and may have been re-fixed in different positions. The small lamb tongue and bead moulding at the top of the legs is applied, pinned and glued. The medallion is also applied and glued. The small gadrooned moulding below the medallion is also applied, pinned and glued. The length of palmette and lily ornament within each leg frieze is carved from one piece and attached by pinning and gluing. The applied carving on the legs has been removed and re-fixed at least once during previous restorations and may have been re-fixed in different positions. There are minor differences in the execution of the applied carving suggesting it was executed by more than one carver.\nThe bead moulding below is applied and pinned and glued. The feet below appear to be carved from one piece. \nThe different elements making up the husk and berry swags and scrolling acanthus leaf ornament between the legs are carved from separate pieces and were probably glued originally. However, these have undergone several phases of previous repair and re-supporting with softwood struts and wrought-iron brackets with screw fixings and pins and composition filler at the ends of the swags. Some swags are replacement carvings and may not all be in their original position having been removed during previous restorations. The centrally placed satyr mask is carved in one piece.\nGilding:\nThere had been several phases of restoration to the gilding before the work done by the V&amp;A. The layers of overgilding were thickly applied and obscured the original carved detail. The last scheme consisted of two tones of gold with green gold applied by oil gilding to the anthemion decoration of the frieze and palmette decoration on the legs with the rest of the table frame water gilded. The original scheme used just one tone of gold leaf. The frame was largely water gilded with a very fine finish of matt and burnished areas. The anthemion decoration on the frieze, palmette decoration on the legs and the medallions were originally oil gilded. The inside of the table frame was covered with a yellow wash.\nThe Marquetry Table Top:\nThe table top substrate is constructed from oak boards of varying widths with the edge built up by approximately 1/4\" to create a thicker outside edge. The marquetry is on a rosewood ground with foliate and paterae decoration filling the whole surface top. The marquetry is largely executed in stained and sand-scorched shaded fruit woods. The outside edges are banded in tulipwood. The top is further embellished with areas of engraving and penwork. The top shows evidence of  having undergone a previous phase or phases of restoration including sanding and scraping of the surface (possibly to revive fading colours) resulting in some loss of the original engraved lines in the process. A previous restoration coated the top with a thick lacquer resin and coated with wax. This surface finish has been left. The steel screws securing the top to the base are replacements from previous restoration.\nWith the exception of replacing and re-gluing a few small pieces of lifting veneer along the front edge, no conservation was carried out to the table tops by the V&amp;A.","artistMakerPerson":[{"name":{"text":"Thomas Chippendale","id":"A8241"},"association":{"text":"","id":""},"note":"Made in the Chippendale workshop (Thomas Chippendale Senior and/or Thomas Chippendale Junior)"}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"Wood","id":"AAT11914"},{"text":"Wood","id":"AAT11914"}],"techniques":[{"text":"marquetry","id":"AAT53853"},{"text":"","id":""},{"text":"","id":""},{"text":"Marquetry","id":"AAT53853"},{"text":"","id":""},{"text":"","id":""},{"text":"","id":""},{"text":"","id":""},{"text":"","id":""}],"materialsAndTechniques":"","categories":[{"text":"Furniture","id":"THES48948"}],"styles":[{"text":"Neoclassical","id":"AAT21477"}],"collectionCode":{"text":"FWK","id":"THES48597"},"images":["2022NF6427","2022NF6428","2022NF6429","2022NF6430","2022NF6431","2022NF6432","2022NF6433"],"imageResolution":"high","galleryLocations":[{"current":{"text":"HarewoodHse","id":"THES286156"},"free":"","case":"","shelf":"","box":""},{"current":{"text":"HarewoodHse","id":"THES286156"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"Pier Table","id":"AAT40000"}],[{"text":"Pier table","id":"AAT40000"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"London","id":"x28980"},"association":{"text":"","id":""},"note":""}],"productionDates":[{"date":{"text":"ca.1771","earliest":"1766-01-01","latest":"1775-12-31"},"association":{"text":"","id":""},"note":""}],"associatedObjects":[{"object":{"text":"W.7-2019","id":"O1501764"},"association":"Object"},{"object":{"text":"W.8-2019","id":"O1503106"},"association":"Object"},{"object":{"text":"W.9-2019","id":"O1503107"},"association":"Object"}],"creditLine":"Accepted in lieu of Inheritance Tax in 2019 by H M Government from the Trustees of the 7th Earl of Harewood's Will Trust and allocated to the Victoria & Albert Museum for display in situ in Harewood House","dimensions":[{"dimension":"Length","value":"175","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"86","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Height","value":"76","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Edwin Lascelles (1713-1797) inherited the estate of Gawthorpe in 1753 on his father's death. The estate near Leeds had been bought in 1738 by Henry Lascelles who came from that part of Yorkshire and had become hugely wealthy from businesses in the West Indies, including colonial administtration and the slave and sugar trades.\nEdwin (later 1st Lord Harewood) demolished Gawthorpe and commissioned the Yorkshire architect John Carr to build a new house and village, which he called Harewood. Work began in 1759 with Carr largely responsible for the building and Robert Adam for the interior decorative treatment.. By 1765 Adam had already made drawings for ceilings and laid out wall designs for all the major reception rooms.  Adam's finished drawing in the Soane Museum Collection shows the wall arrangement of framed paintings and ornamental panels. On the window piers a pair of mirrors have been drawn but without tables. This design varies from the finally installed features, but this is not unusual with Adam's schemes and variations are common.\n\nThe pair of pier tables, designed and made for the window wall of the Music Room were delivered in about 1771. Except for a short period in the 1950's  when the house first opened to the public when the tables were re-located to the adjoining Drawing Room, they remained in the same position on the window wall since installed there by Chippendale's workmen.\nA full inventory compiled in 1795 on the death of Edwin Lascelles provides evidence of the room arrangements at the time. The tables and the pier glasses above them were listed as:\n <i>\"..... 2 large Pier Tables with burnished Gold Frames &amp; inlaid Tops and 2 large Pier Glasses over Ditto.....\"\n\n</i>Two tourist guides, E. Hargrove's <u>History of Knaresborough</u>' published in 1798 and J. Jewell's '<u>The Tourist's Companion or the History and Antiquities of Harewood</u>' in 1819 confirm and identify several Chippendale items. Both include the same reference to the Music Room:<i> \" ....Here are two elegant pier glasses, eight feet, by four feet four inches; under which are two richly inaid tables.....\"\n</i>\nHargrove recorded that the firm of Thomas Chippendaleof London was responsible for furnishing the the house and commented :\n<i>\"...Through every part of this princely mansion elegance and usefulness are evidently united; and nothing can exceed the work of the mason, the carver, the painter and the upholsterer....\"\n\n</i>The house was heavily remodelled by Sir Charles Barry and redecorated by the London firm of Trollope and Sons in the 1840's, when many rooms changed appearance and function with quantities of furnishings consigned to various outhouses.  The Music Room escaped much of the 19th century refurbishment and is the room least changed from Adam's original concept. \nFurther work was carried out by Sir Herbert Baker in 1929-30 for the 6th Earl of Harewood when he married the Princess Royal. \nFurther refurbishment took place in 1987-1991 when some of the stored dismembered Chippendale items were replaced and mirrors returned to the State rooms. The two year restoration programme of the mirrors was carried out by the London firm of Carvers and Gilders. As far as is known, no work was done in the Music Room at that time.\n\nIn 2019 the tables were brought to the Victoria &amp; Albert Museum to undergo extensive conservation on the frames before being returned to the same location at Harewood in 2024.","historicalContext":"","briefDescription":"Carved and gilded pier table with rectangular marquetry top. The frame centred by a satyr mask. Square tapering legs joined by swags.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Jewell, J. \"The tourist's companion, or the history and antiqioties of Harewood, in Yorkshire, giving a particular description of Harewood House, Church and Castle, etc.\" Leeds, 1819 p.30\nMacquoid, P. \"A History of English Furniture: The Age of Satinwood\", London 1908, figs. 78-79\nEdwards, R. and Macquoid, P. \"The Dictionary of English Furniture, from the Middle Ages to the late Georgian period\" London, revised 1954, Vol III, p.295, fig.60\nGuide Book: \"Harewood, Stoke- on-Trent 1959, p.24 'The Music Room'\nGilbert, C. \"Chippendale's Harewood Commission\", Furniture History, Vol 9 (1973) p.7 pl.9\nMauchline, M. Harrewood House, London, 1974\nGilbert,C. The Life and Work of Thomas Chippendale, London 1978, figs.474-5; Vol1, p.201.\nGuide Book: \"Harewood House, Yorkshire\", Harrogate 1983, p.24, fig.43, The Music Room\nGuide Book: \"Harewood, Yorkshire:A Guide\" Leicester, undated, pp32-33. The Cinnamon Drawing Room.\nGuide Book: Harewood House, Yorkshire, Home of the EArl and Countess of Harewood\", Leicester. undated p.34 The Cinnamon Drawing Room\nMorris, S. \"Nothing in Excess\", The Antique Collector, April, 1995, p.55\nRobinson, J.M. \"Harewood House, Yorkshire\", Apollo, 1995, Fig.IV, The Cinnamon Drawing Room."}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["W.6:1-2019","W.6:2-2019"],"accessionNumberNum":"6","accessionNumberPrefix":"W","accessionYear":2019,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-03-02","recordCreationDate":"2019-07-09","availableToBook":false}}