An early Victorian hardstone inlaid Ashford black marble centre table1850-1860, in the manner of Samuel BirleyThe detachable top inlaid with a wreath of assorted flowers including forget-me-nots and jasmine, with an ogee moulded edge, on a ring turned baluster column with a lobed collar, the concave tripartite base inlaid with similar flowers, terminating in squat bun feet, approximate diameter of the top: 66cm; 76cm high approximately.Footnotes:An almost identical example to the offered lot, also described as being in the manner of Samuel Birley, sold Sotheby's, London, 2007, Important English Furniture including furniture from the Horlick Collection, lot 236. Whilst another very similar model sold Sotheby's, London, 15 September 2009, Fine English Furniture and Continental Furniture, lot 22. A further 'manner of Samuel Birley' comparable, albeit with more intricate and colourful inlay than the present one, sold Sotheby's, London, 5 March 2008, lot 115.The marble typically referred to as Ashford marble is in fact a form of limestone which comes from two quarries in Derbyshire, near Ashford-in-the-Water. When polished up, its surface builds up to a deep lustrous and glossy black and this can be clearly seen on the above table. Records indicate that Ashford marble was probably first used in the 16th century and the earliest instance of this was during the 1590s, where it was used in the production of chimney pieces for Hardwick Hall, Derbyshire. Thereafter, it appears to have been manipulated for both architectural and decorative purposes. The operations at Ashford and Derby are referred to in 'Glover's History and Gazetteer of Derbyshire' of 1829, where it is mentioned that the stone: 'is wrought into articles of domestic elegance and into monuments, chimney pieces are sold at various prices, from 30s to upwards of £60, and beautiful tables of black marble, enriched with elegant engravings, are also made there'. A further notable element is that during this period it seems that much of the marble output of these quarries was subsequently either etched or engraved.From the 1830s onwards this material became highly fashionable among the wealthy and aristocratic in Britain. Included among the patrons for Ashford marble was William Cavendish, 6th Duke of Devonshire (d.1858), who was a major collector and connoisseur of mineral specimens, particularly indigenous ones. Cavendish commissioned craftsmen who were based close to his home at Chatsworth to execute, among other things, enormous doorways for a new wing there.W. Adam, then working at (and later to manage) John Mawe's establishment at Matlock, claimed to have revolutionised the inlaying of black marble; he published his 'Gem of the Peak' in 1838 (1st ed.), which described Florentine mosaic or pietra dure in intricate floral and geometric patterns, and he supplied a 'magnificent table... inlaid with a wreath of flowers and foliage' to Windsor Castle on behalf of Queen Victoria in 1842.The new processes, designs and practicalities which were expounded by Adam influenced a great number of local makers and workers in this stone, and this resulted in the latter quickly adopting them in their own practices. Also, as a direct consequence of this fact, new workshops were founded in Matlock, Bakewell, Buxton and Castleton which used other minerals, either likewise mined in the nearby area or otherwise imported. All of these locations rapidly became popular tourist destinations, whilst they experienced a concomitant increase in requests for souvenirs such as clock cases, candlesticks, ink stands and vases, as well as for smaller pieces of furniture.At the 1851 Great Exhibition a significant number of inlaid Ashford marble pieces and objects were displayed. Amongst them was a table made by John Tomlinson which was inlaid with: 'a wreath of flowers and leaves in their natural colours... entirely formed of the spars of Derbyshire'. This item features in the Art Journal Illustrated Catalogue of the Great Exhibition, 1851, p. 111 but also appears in J. Meyer, Great Exhibitions, London - New York - Paris - Philadelphia, 1851-1900, 2006, p. 46.Another person operating in the same oeuvre was Samuel Birley. He won three medals at the 1862 London International Exhibition, including for a table now in the collection of the Victoria & Albert Museum (157-1864). A further related table in the Oak Room at Chatsworth appears in The Duchess of Devonshire, Chatsworth, The House, 2002, p.108.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
