{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1501764"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1501764/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2022NF6434/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2022NF6434/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2022NF6434","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6435","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6436","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6437","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6438","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6439","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2022NF6440","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1501764/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1501764","accessionNumber":"W.7-2019","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 with their matching 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. Placed away from the sunlight between the windows they are remarkably well preserved, and represent some of the finest surviving marquetry by Chippendale. They were noted in the 1795\r\ninventory of the house and remain essentially as they were when built by Chippendale’s workshop.\n\nArts Council England, Cultural Gifts Scheme & Accepance in Lieu Report, 2019","physicalDescription":"One of a pair of George III marquetry and giltwood pier tables, the rectangular top inlaid with paterae and foliage on a rosewood ground, on two-tone anthemion friezes centred by satyr masks and six square tapering legs joined by swags.\n\nThe frame, frieze and legs are executed in softwood. The front and back corner legs are joointed to the 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 joointed to the front frieze rail with a lapped joint, secured with a screw. The table frame has a central rail 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. The applied carving has been removed and re-fixed at least once in a former restoration and may have been re-fixed in different positions.\nThe 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 applied, pinned and glued. The length of palmette and lily ornamentwithin each leg frieze is carved from one piece and and attached by pinning and gluing. The applied carving has been removed and re-fixed at least once in a former restoration and may have been re-fixed in different positions.\nThe bead moulding below is applied, pinned and glued. The feet below appear to be carved from one piece. The different elements making up the husk and berry swags and scrolling acanthus leaf ornament between the legs aare carved from separate pieces and were probably originally glued. 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 sswag ends. Some swags are replacement carvings and may not be in their original positions being moved in previous restorations. The central satyr head is carved in one piece.\nGilding:\r\nThere had been several phases of restoration to the gilding before the work done by the V&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.\r\nThe Marquetry Table Top:\r\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.\r\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&A.\r\n\n","artistMakerPerson":[{"name":{"text":"Thomas Chippendale","id":"A8241"},"association":{"text":"","id":""},"note":"Thomas Chippendale workshop. Thomas Chippendale and/or Thomas Chippendale Junior."}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"Wood","id":"AAT11914"}],"techniques":[{"text":"marquetry","id":"AAT53853"}],"materialsAndTechniques":"","categories":[{"text":"Furniture","id":"THES48948"}],"styles":[],"collectionCode":{"text":"FWK","id":"THES48597"},"images":["2022NF6434","2022NF6435","2022NF6436","2022NF6437","2022NF6438","2022NF6439","2022NF6440"],"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":[],"productionDates":[{"date":{"text":"ca.1771","earliest":"1766-01-01","latest":"1775-12-31"},"association":{"text":"","id":""},"note":""}],"associatedObjects":[{"object":{"text":"W.8-2019","id":"O1503106"},"association":"Object"},{"object":{"text":"W.9-2019","id":"O1503107"},"association":""}],"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":"See entry for W.6-2019","historicalContext":"","briefDescription":"Carved and gilded pier table. See entry for  W.6-2019","bibliographicReferences":[],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["W.7:1-2019","W.7:2-2019"],"accessionNumberNum":"7","accessionNumberPrefix":"W","accessionYear":2019,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-03-02","recordCreationDate":"2019-07-09","availableToBook":false}}