An important George II giltwood side table with a specimen top comprised of assorted hardstones, marbles and minerals including Blue John

The table 1735-1740, the top 18th century

Footnotes

Provenance
Ripley Castle, located near Harrogate in North Yorkshire.

The boldly carved Vitruvian scroll frieze bracketed by acanthus leaf ornament features on a side table of earlier date. It was designed by the architect William Kent for Ditchley Park in circa 1726 and was carved by James Richards. It features in S. Weber, William Kent Designing Georgian Britain, New Haven, 2013, fig. 18.31, p. 491.

A related giltwood and gilt gesso side table, which is attributed to Benjamin Goodison (c.1700-1767), forms part of the Royal Collection and is illustrated in The First Georgians, Art and Monarchy, 1714-1760, ed. by D. Shawe-Taylor, 2014, London, fig. 109, pp.'s 202-203. Dating to circa 1730, this impressive Royal table incorporates closely comparable elements such as the Vitruvian scroll frieze with acanthus angles, the central classical female mask on a draped background and the distinctive drapery swags to the apron.

This table along with a similar gilt variant companion of the same date, the latter also attributed to Goodison, are noticeable in an 1816 watercolour by Charles Wild which depicts The Queen's Drawing Room at Windsor Castle, Ibid, fig. 45, p. 202. Both, despite their elaborate gilt gesso tops, are shown in this watercolour with two ship models from George III's collection positioned on top of them. Although evidently, they were transferred from this location to the Queen's Audience Chamber shortly afterwards and probably as soon as during the reign of George IV in the 1820s.

During the early 20th century, the celebrated English furniture collector, Percival D. Griffiths, assembled under the auspices of the furniture historian, Robert Wemyss Symonds, a collection which at the time was considered the finest in the country. Griffiths developed a penchant for certain elements associated with the Neo-Palladian style (often categorised as 'lion mask furniture'), typified by those aspects exhibited on the offered lot. Indeed, key items in his collection paralleling this style are illustrated in R.W. Symonds' seminal work, English Furniture from Charles II to George II, 1929, London, fig.'s 69-72 and 177-180. The Griffiths Collection was sold at Christie's in 1939 after Griffiths died while hunting with the Whaddon Chase on 11th December 1937.

Furthermore, another table, a mahogany console with a marble slab top dating to circa 1735, has a number of shared characteristics with the present example and this appears in English Furniture from Charles II to George II, 1980, Woodbridge, fig.'s 147 & 177, pp.'s 159 and 180. Both have very similar egg-and-dart moulded top edges, Vitruvian scroll friezes and perhaps most notably each one is on cabriole legs carved with lion masks and acanthus leaves which terminate in hairy hocks and lion paw feet. In fact, this particular mahogany table, which previously formed part of the renowned Griffiths collection, sold Christie's, New York, 17 October 2008, Important English Furniture, lot 20.

It is also interesting to note that a mahogany drop-leaf table, that is likewise dated circa 1735, has lion masks carved to its legs and comparable lion paw feet which are certainly more akin in their appearance and execution to those featuring on the offered model than on the previous table. This related drop-leaf features in Ibid, fig.'s 71 & 127, pp.'s 96 and 141.

A pair of tables in the collection at Temple Newsam [LEEAGFU.1954.009] - the design of which has been attributed to Henry Flitcroft (1697-1769), who was commissioned to conceive the interiors of Ditchley Park - were completed during the period 1736-1741. A table probably designed by Flitcroft and attributed to Matthias Lock (1710-1765), combining related Vitruvian scroll and swag ornament sold Christie's, New York, The Ann and Gordon Getty Collection, 22 October 2022, lot 331.

Flitcroft, a former assistant to Kent, was likewise a protégé of Richard Boyle, 3rd Earl of Burlington (1694-1753). The latter became a leading exponent of the Neo-Palladian style following his final Grand Tour of Italy in 1719 when he rebuilt Burlington House as a homage to the architectural designs in Andrea Palladio's I Quattro Libri dell'Architettura, first published in 1570.

Moreover, two designs for pier or side tables, completed by William Jones for his 1739 publication, "The Gentleman or Builder's Companion", pl.'s 27 and 28, possess some attributes which are analogous to those of the present model. Between the two designs these attributes include: a Vitruvian scroll frieze, central classical female mask, swagged apron, cabriole-like legs and similar feet. Both drawings feature in Pictorial Dictionary of British 18th Century Furniture Design, 2000, Woodbridge, pl.'s 27 & 28, p. 263.

A further giltwood table, evidently conforming in numerous details and definitely close in spirit to such William Jones designs, is illustrated in A. Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009, pl. 5:30, p. 215. This version is dated by the author to the period 1735-1750 and clearly combines Neo-Palladian motifs such as the classical mask, prominent shell and Vitruvian scrolling with early 'indications' of the then burgeoning Rococo style. However, arguably the above table is perhaps nearer to circa 1735, since it seems to fuse the late Baroque style with Neo-Palladianism, so effectively such an integration suggests a slightly earlier date of execution in comparison to the former.

The Specimen Tabletop and 'Blew John'
The marvellous 18th century specimen top surmounting the offered lot appears to be comprised of an assortment of hardstone, marble and mineral types which are seemingly predominantly, or possibly exclusively, of indigenous origins. Although most of these segments are difficult to currently identify with any real degree of certainty, it is nonetheless probable that a minimum of two varieties of Blue John are included therein, and they are most likely to be 'Old Tor Vein' and 'Treak Cliff Blue Vein'. However, there is perhaps an argument to suggest that there are signs of 'Odin Vein' as well.

Blue John is a variety of the common mineral fluorspar, which is composed of calcium fluoride (CaF2). Fluorspar can be in any colour, but it is known as Blue John when it is bluish purple with a white banding, thought to be caused by inclusions or impurities. The name Blue John was not recorded until 1766, when Lady Mazarine, one of the Eyre family and a major landowner within the area, was recorded leasing 'ye mine of Blue John'. Robert Adam was incorporating Blue John into his chimney-piece designs in 1760 and Matthew Boulton referred to 'Blew John' in a letter dated 1768. Prior to the 1760s it was sometimes referred to as 'Derbyshire Drop', 'Derbyshire Spar' or even 'Radix Amethysti'.

Blue John has always been associated and unique to the caverns of Treak Cliff, Castleton, in Derbyshire, although there are relatively small quantities known to exist in the Peak District area. Various characteristics, referred to as 'veins', can be noted within the Blue John sourced from different parts of Treak Cliff Hill. There were traditionally known to have been a total of fourteen such 'veins', see T. Ford, Derbyshire Blue John, 2000, Nottingham.

Aside from Blue John the present table-top also possibly incorporates such specimens, or varieties of certain marbles, stones and minerals, as: Derbyshire fossil, quartz, serpentine, fluorspar, amethyst, agate and limestone. Several examples of such are visible in M.T. Price, Decorative Stone, The Complete Sourcebook, 2007, London. Although, of course an in-depth analytical study, or indeed scientific analysis, of this top would certainly be merited in order to more accurately identify all of the wide assortment of types, whilst a light sympathetic polishing beforehand might assist in this process.

Ripley Castle
Over the course of its remarkable 700-years or so existence, Ripley Castle and its occupants have born witness to political, military, religious and social turbulence, often playing a major part in British history. Following his marriage to the heiress Edeline Thwenge in 1308, Sir Thomas Ingleby (c.1290-1352) - as part of his wife's dowry - took up residence at Ripley Castle, located near Harrogate in North Yorkshire. Ever since that time the Ripley estate with its beautiful medieval manor house and gardens have been owned by, as well as home to, the Ingleby family.

Importantly Sir Thomas's eldest son, also called Thomas (1310-1369), saved the life of Edward III when the monarch was attacked in a forest by a wild boar during a hunting expedition. In recognition of this, the Inglebys were from then on granted by the King the honour of having a boar's head as their family crest, which serves as a constant reminder of this great act of Royal service.

Many years later, a descendant called Sir William Ingleby (1546-1618) was arrested and charged with treason for his alleged involvement in the Gunpowder plot, during the year it took place, in 1605. However, although Sir William was exonerated, it is believed that he may possibly have allowed the guilty parties involved in the failed conspiracy to temporarily reside at the castle.

Another Sir William (1594-1652) fought for the Royalist cause during the civil war. Then in 1644, having participated in the one-sided battle of Marston Moor, where the 'cavaliers' were overwhelmed by Oliver Cromwell's 'roundhead' forces, Sir William was forced to flee back to Ripley. Despite being initially fortunate in escaping the rout, the latter had to hide in a priest hole inside the house as Cromwell had just so happened to choose to lodge at the Castle that same evening.

During the 1780s, significant restructuring and alteration of the house was undertaken by William Belwood (1739-1790) upon behalf of Sir John Ingleby. It is interesting to note that the York-born architect Belwood was foreman to Robert Adam. The offered table was possibly acquired by the family whilst this re-building took place. This project seemingly ended prematurely due to Sir John experiencing serious financial difficulties and thus having no choice but to ultimately move abroad in 1794. Then, after a period of further familial upheaval, the 1st Baronetcy of the third creation was bestowed upon Henry Ingleby in 1866.

Literature
S. Weber, William Kent Designing Georgian Britain, New Haven, 2013.
The First Georgians, Art and Monarchy 1714-1760, ed. by D. Shawe-Taylor, 2014, London.
R.W. Symonds, English Furniture from Charles II to George II, 1929, London & also Ibid 1980, Woodbridge.
Pictorial Dictionary of British 18th Century Furniture Design, 2000, Woodbridge.
A. Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009.
T. Ford, Derbyshire Blue John, 2000, Nottingham.
M.T. Price, Decorative Stone, The Complete Sourcebook, 2007, London.