the serpentine crossbanded top with a central oval rosewood marquetry medallion inlaid with a neo-classical urn surrounded by engraved bell flowers, within an outer crossbanding inlaid with a running pearl motif border, the leaves each with a fan medallion, the frieze with a single drawer flanked by simulated fluting in boxwood, the square tapering legs decorated with water leaf marquetry feet, terminating in the original brass castors, inlaid throughout with tulipwood bandings and stringing 98cm wide, 68cm high, 70cm deep ***Comparative Literatue: Clifford Musgrave, 'Adam and Hepplewhite and other Neo-Classical Furniture', Faber and Faber, London, 1966, figs. 130 and 131. Provenance: Mallett and Son (Antiques), 1960 The term 'Pembroke' table originated from the Countess of Pembroke who reputedly ordered the first example of its type. The Heppalewhite period in late eighteenth century England is epitomised by the neo-classical designs of the cabinetmaker George Hepplewhite His furniture patterns are characterized by a classic simplicity and delicacy as well as light, curved forms, painted or inlaid decoration, and distinctive details such as slender tapering legs terminating in spade feet. The three oval panels of neo-classical marquetry, the use of inlaid dentil molding framing the central drawer and the collars on the legs above elaborate marquetry inlay to each ankle, relate to furniture produced by Christoph Furlohg. Furlohg was a Swedish cabinetmaker who was trained in Europe by the French ebeniste Jean-Francois Oeben. He became an employee of John Linnell at Berkeley Square and was much in demand for his marquetry work of ‘curiously inlaid mahogany and satinwood articles’. He combined his French techniques with the new neoclassical taste in England, which attracted many distinguished patrons including the Prince of Wales and the Duke of Portland.
the serpentine crossbanded top with a central oval rosewood marquetry medallion inlaid with a neo-classical urn surrounded by engraved bell flowers, within an outer crossbanding inlaid with a running pearl motif border, the leaves each with a fan medallion, the frieze with a single drawer flanked by simulated fluting in boxwood, the square tapering legs decorated with water leaf marquetry feet, terminating in the original brass castors, inlaid throughout with tulipwood bandings and stringing 98cm wide, 68cm high, 70cm deep ***Comparative Literatue: Clifford Musgrave, 'Adam and Hepplewhite and other Neo-Classical Furniture', Faber and Faber, London, 1966, figs. 130 and 131. Provenance: Mallett and Son (Antiques), 1960 The term 'Pembroke' table originated from the Countess of Pembroke who reputedly ordered the first example of its type. The Heppalewhite period in late eighteenth century England is epitomised by the neo-classical designs of the cabinetmaker George Hepplewhite His furniture patterns are characterized by a classic simplicity and delicacy as well as light, curved forms, painted or inlaid decoration, and distinctive details such as slender tapering legs terminating in spade feet. The three oval panels of neo-classical marquetry, the use of inlaid dentil molding framing the central drawer and the collars on the legs above elaborate marquetry inlay to each ankle, relate to furniture produced by Christoph Furlohg. Furlohg was a Swedish cabinetmaker who was trained in Europe by the French ebeniste Jean-Francois Oeben. He became an employee of John Linnell at Berkeley Square and was much in demand for his marquetry work of ‘curiously inlaid mahogany and satinwood articles’. He combined his French techniques with the new neoclassical taste in England, which attracted many distinguished patrons including the Prince of Wales and the Duke of Portland.
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