We take a closer look at selected highlights from the recent auction, Fine Interiors including Cherry Barker – Collecting the English Vernacular held on March 8th 2022.
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From Cherry Barker – Collecting the English Vernacular, a George IV painted Constable’s truncheon dates from the early 19th century, the majority of decorated truncheons were created from the late 18th century through to around 1880. In the era before organised police forces, the parish constable was responsible for the enforcement of local law and order. Locally appointed, the constable was in post for a year and he did not wear a special uniform and so the decorated truncheon was his official badge. As with this truncheon, and the majority of decorated truncheons, the use of the royal coat of arms reinforced this right. We spoke with Alan Cook, founder of the website Trucheons & Tipstaves and he shared his insights on this truncheon: it was used in Birmingham, the city has the reputation for producing some extremely fine examples of decorated truncheons. An artist who specialised in heraldry, John Thorp, is regarded as the finest painter of decoration and this truncheon could have been by him. The royal coat of arms are from the 1801-1816 era, however, the truncheon bears the GIVR cipher, and George IV was not king until 1820. It might be that the artist made a mistake with the arms or perhaps wanted to extend the life of the truncheon by adding the new king’s cipher. The Birmingham coat of arms appear at the base, they were formally adopted by the city in 1838, and derive from those used by the de Bermingham family who from 1413-1536 were holders of the manor.
Also from the single owner collection, this 19th century portrait of a bull, an oil on canvas is attributed to the English Naïve School (est. £400-600, sold for £4,750). Naïve art is regarded as simple and unaffected and often executed by painters without formal training. The choice of subject here fits in with the farmyard animals typically seen in naïve art, however, this charming work is extremely polished and in intricate detail. It elevates an imposing bull, who dominates the canvas and hooks the viewer with a powerful and knowing expression.
From the various owner section of the auction, Fine Interiors, this George III mahogany secrétaire chest on chest is from an Oxfordshire estate. The secrétaire is understandably widely seen, and is a perennially popular and useful item of furniture. Lot 157 (est. £3,000-4,000, sold for £5,250) with its broken arch dentil moulded cornice made a strong design statement, this feature influenced by classical architecture. The graduated drawers on both the top and bottom parts of the piece also add to the pleasing flow, with the shaped bracket feet sealing the overall elegance.
Lot 176, a small George III cream painted and decorated demi-lune commode (est. £1,000-1,500, sold for £9,000) shares the same provenance as the previous highlight. The commode is painted with neo-classical scenes of maidens and pastoral lovers, set within riband tied floral swags further complimenting the natural milieu. These tableaux are in the manner of Angelica Kauffman (1741-18107), the skilled Swiss portraitist, landscape and decoration painter. Kauffman was one of only two female painters amongst a group of artists responsible for founding the Royal Academy in 1768. From 1769 until 1782 Kauffman exhibited annually at the RA, submitting several works every year invariably featuring classical or allegoric themes. Kauffman identified primarily as a history painter, and at the time history painting was considered the most elite and lucrative category in academic painting. Guided by Sir Joshua Reynolds, the RA made the concerted attempt to promote it in England, over the more commonplace portrait and landscape works. Ultimately Kauffman relocated to Rome where history painting was better established and more highly regarded. The refined demi-lune design of the commode is the perfect vehicle for the graceful painted decorations, allowing them to be viewed from several angles.
The George IV carved mahogany reading or library chair (est. £3,000-5,000, sold for £6,875) is attributed to Morgan & Saunders. Ackermann’s Repository of 1810 explains how this type of chair was to be used, read the catalogue entry here. Thomas Morgan and Joseph Saunders’ business was located on Catherine Street, Strand, London in very close proximity to the premises of their previous boss, Thomas Butler. When looking to retire in 1800 Butler had sold his business to Thomas Oxenham, a controversial move given the interest expressed in it by his former employees. In the face of fierce rivalry Oxenham took off to Oxford Street, and Butler reinstalled himself at Catherine Street – where the on-going ill will was to play out in advertisements and broadsheets. Morgan and Saunders’ business is well-known through their involvement with Rudolph Ackermann, print seller, art dealer and publisher, also located on Strand, whose monthly periodical, The Repository of Arts, featured a succession of their furniture designs between 1809-1815. They named their building Trafalgar House in honour of their hero, Nelson, (and no doubt to capitalise on public sentiment too) for whom they had produced furniture in 1805 for his home in Merton, Surrey. Alongside advertisements in London and regional press, Morgan & Saunders published documents illustrating their range of patent furniture, and they claimed royal patronage, however, only one confirmed commission can be traced; the Lord Chamberlain’s records, in the quarter to 5 April 1814 show ‘2 whole length figures of his Majesty in Brass finely chased’, for which they were paid £52 10s.
The oil on canvas still life of strawberries, and a companion piece of pears and grapes, lot 199, signed respectively 1895 and 1897, (est. £1,500-2,000, sold for £4,750), are by British artist Eloise Harriet Stannard (1829-1915). Stannard was one of only two female artists to be associated with the Norwich School of painting, Britain’s first provincial art movement. It is likely she was trained by her father, the landscape painter and drawing teacher, Alfred Stannard, and she was influenced by Dutch still life painters. As here, she favoured fruits, piled in baskets and bowls, and frequently accompanied by insects. Stannard was renowned for her fine brush work and numerous paint layers, which created a highly luminous surface – attributes also seen in our works. She initially exhibited at the British Institution, from 1852, and in 1857 she received a note from the Secretary, George Nicol, relaying comments made by the still life artist, George Lance (1802-1864), on varnishing day. Undeterred by finding out that the circular painting depicting grapes which he so admired was painted by a lady, he commented that it ‘I like to see such things; they put me on my mettle’.
Lot 217 (est. £2,000-3,000, sold for £3,500), a George IV gonçalo alves carved stand is attributed to Gillows. It is a bold piece, with stylish carved trussed acanthus supports on a tripartite platform base. Gonçalo alves is also known as tiger wood, because of its contrasting colour scheme, and is often compared with rosewood, and this effect can be seen in the circular stiff leaf moulded and dished top of the stand. The timber gonçalo alves was used at Gillows from July 1823 until the mid 1860s.
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Forthcoming auctions: Design For Living, 17th May | Fine Interiors, 5th July
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