A MID-VICTORIAN ORMOLU-MOUNTED CUT AND SILVERED-BRASS, IVORY AND MOTHER-OF-PEARL-INLAID TORTOISESHELL `BOULLE' AND EBONY TABLE

Undoubtedly inspired by Baroque furniture forms as illustrated in the designs of Daniel Marot (1661-1752), this antiquarian table exemplifies the revival of Boulle marquetry or ‘buhl work’, fashionable in England from circa 1810. As a mid-19th century piece, it was possibly made by one of the larger firms, Toms & Luscombe, who after 1849 had purchased the business of the pioneering firm, Town & Emanuel of 103 New Bond Street, renowned for their expensive, high quality Boulle marquetry in the 'French ornament’ style (F. Collard, 'Town & Emanuel’, Furniture History, vol. 32 , 1996, pp. 81-89). The 1851 census shows that Toms & Luscombe employed five cabinet-makers, two 'buhl’ cutters, two polishers and four brass finishers; they would also have ‘bought-in’ Boulle marquetry panels from other specialist firms. In 1855, they contributed to the furnishing of Osborne House, Queen Victoria’s summer residence on the Isle of Wight, and in the catalogue for the 1862 International Exhibition, London were listed as exhibitor 5839 and awarded a medal for ‘Buhl cabinets and tables for good design and workmanship’. J.B. Waring in Masterpieces of Industrial Art & Sculpture, 1862, includes a chromolithograph of their work (plate 252), which shows a table and cabinet commissioned by the Earl of Craven. The firm continued to produce 'Buhl' furniture until about 1870 after which date it fell out of fashion.
The central roundel on the table-top represents Deianira, in Greek mythology the daughter of Dexamenus, King of Olenus. Hercules had sexual relations with Deianira and promises to return to marry her but while he is away, the centaur Eurytion appears, demanding her as his wife. Her father, being fearful, agrees to the marriage but before it can take place Hercules returns, slays the centaur, and claims his bride.