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A George III period satinwood dressing cabinet c1795 of exceptional quality and condition: attributed to Gillows of Lancaster & London. H 94cm, W 116cm, D 68cm This cabinet exemplifies the late 18th and early 19th century taste for ‘metamorphic' or ‘patent furniture': a simple object is manipulated, opening out to a more complex object. Here, a discreet cabinet on four legs becomes a dressing table at which a lady of very high status could engage in her preparations for the day, with multiple mirrors giving acute angles at which to contemplate the finished effects.
Made of expensive satinwood with kingwood and holly banding, the lower cupboard has two incurving doors (a further expense as curved doors were more complicated), allowing the user to sit closer to the numerous lidded boxes which would hold makeup, combs, perfumes etc.
When the top rises, three mirrors can be manipulated to give the user full survey of the toilette. It should be remembered that mirror glass was a significant cost in the overall expense of such a piece, and provision of three emphasises its luxury.
Antecedents for this model can be seen in Inc & Mayhew's 1762 ‘The Universal System of Household Furniture' and Thomas Malton's 1778 ‘Compleate Treatise on Perspective' and not least, Thomas Sheraton's 1793 ‘The Cabinet-Maker and Upholsterer's Drawing Book' Plate XLIX, Part III
However, the Gillow Estimate Sketch Books provide us with clear evidence that Gillows were producing furniture in the early 1790's, remarkably similar to our dressing cabinet, as below.
With the illustrations above, we can see that our cabinet is an amalgam of the three designs.

Gillows incorporated oval flower carved tablets into chairs and case furniture from the 1770's onwards, until the turn of the century.
Lindsay Boynton (ref: Gillow Furniture Designs 1760-1800: pub Bloomfield Press 1995) described Thomas Sheraton as a ‘professional plagiarist…doing the rounds of leading shops in London'. He had a small workshop and after 1793, he did not practice as a cabinetmaker.
Susan Stuart (ref: Gillows of Lancaster and London: 1730 – 1840 pub ACC 2008) has suggested that around 5% of Gillows' production was stamped by them, and that in fact, only the Lancaster works did so, with no London marks having been identified.
Lindsay Boynton also wrote: "the assessment of Gillow furniture depends not only on style but also on the quality of wood and workmanship: when all three are satisfactorily present, the judgement is usually not in doubt"
The present dressing table exhibits the use of extremely high-quality timbers and outstanding quality cabinet work.
It is reasonable to propose that our cabinet is a production of the Gillow London workshops, made for a lady of very high status.


  • Condition: Please note that whilst we endeavour to mention any imperfection, the absence of this information in the catalogue does not automatically imply that the lot is free from defect.

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