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Here we have an extraordinary ormolu-mounted pier cabinet with a smoothly bevelled Vert Maurin marble top (a green marble from the French Alps), made circa 1820–1840 and formerly retailed and assembled by Edward Holmes Baldock (EHB), regarded as one of the most important English furniture dealers of the early to mid-19th century, and featuring marquetry attributed to the Blake family, among Britain’s leading marquetry and Boulle inlayers of the period. The cabinet is of substantial size and features protruding canted corners to the front.

Edward Holmes Baldock was known for incorporating important 17th and 18th century elements from earlier furniture into pieces he retailed, and this cabinet is an exceptional example of that practice. To the centre of the front is a naturalistic marquetry panel depicting an urn of flowers on a stand, resting above scrolling shaped forms. The veneers are particularly thick and finely worked, and this panel is estimated to date from the late 17th to early 18th century, likely of continental origin.

This central panel is framed by an ebony border with naturalistic floral marquetry, also believed to date from the late 17th or early 18th century. The marquetry to the sides is executed in the manner of André-Charles Boulle (1642–1732). For comparison, a cabinet in the Wallace Collection, attributed to André-Charles Boulle and dated circa 1670–1675, displays closely related marquetry decoration. That example is constructed of oak, ebony, tortoiseshell, brass and marquetry, and shows very similar floral designs.

The cabinet is fitted with impressive ormolu mounts, many of which appear to originate from earlier furniture and were carefully selected by Baldock. The most striking mounts run vertically up each canted corner of the front, topped with scrolling arched forms and decorated with floral detail. A closely comparable French commode in the Victoria and Albert Museum, dating to circa 1720, features remarkably similar brass columns terminating in hoof feet. Although that important commode bears no definitive maker’s stamp or provenance, specialists at the V&A have suggested that it is most likely attributable to the workshop of André-Charles Boulle.

The strong similarity between the mounts may suggest that the ormolu on this cabinet was either inspired by Boulle’s designs, copied from them, or possibly even cast from the same master models used for the earlier commode.

Most of the brass elements on the cabinet, including stringing and borders, are attached using bolts, a construction method characteristic of 18th century French ormolu mounts, rather than the later practice of simply pinning or screwing mounts to the surface. At the top of each front column is a mounted head with small horns, forming a matching pair. Combined with the hoof-form feet below, these mounts may represent a faun, the Roman mythological figure that is half human and half goat, associated with rustic woodland and animal spirits.

The side panels also incorporate earlier decorative elements. Each side features a trellis marquetry panel taken from an 18th century French furniture piece, and carefully integrated into the cabinet’s construction.

The frieze of the cabinet is inlaid with marquetry dating to the same period as the cabinet itself, circa 1820–1840, and this decorative band continues around to the sides. This section of marquetry is attributed to the Blake family (Richard Blake, Charles Blake, Henry, George and James Blake), regarded as among Britain’s leading marquetry and Boulle inlayers of the early to mid-19th century, and craftsmen whom Baldock is known to have employed on numerous important pieces.

The cabinet is stamped “EHB” to the top of the back, confirming the association with Edward Holmes Baldock. The locks are working and new keys have been cut for both the door and the drawers. The cabinet stands on casters, allowing it to be moved easily. The doors open to reveal a shelved oak-lined interior with two adjustable shelves.

Woods Used in the Cabinet

This cabinet is constructed from a variety of fine timbers, with the carcass primarily of oak. The sides are predominantly veneered in rosewood, with kingwood veneered panels above and below the trellis marquetry sections. To the front, the door is framed by an ebony border, and the upper drawer incorporates coromandel veneers. The door frame itself is finished in a burr yew veneer, adding a subtle but beautiful contrast to the overall appearance.

Edward Holmes Baldock Ormolu Pier Cabinet with Blake Marquetry

£25,000.00

Edward Holmes Baldock (1777–1845), based in Hanway Street, London, was regarded as one of the greatest antique dealers of the early to mid-19th century. His clientele included the highest echelons of society, from the monarch downwards, including King George IV, the Rothchild’s, William Beckford, and the Duke of Buccleuch. Baldock was also known as a purveyor of porcelain to King William IV and Queen Victoria, and he contributed to the refurnishing of Windsor Castle in 1827, when he supplied the King with cabinets, sofas, chairs, and Sèvres porcelain.

Baldock was not only a dealer from whom the royal household purchased objects directly, but he also acted on behalf of King William IV at auctions, acquiring important pieces for the royal collection and receiving a commission for his services.

It is remarkable how many significant works of art passed through Edward Holmes Baldock’s hands. In 1824, for example, he sold to the 3rd Duke of Northumberland a pair of cabinets made by Domenico Cucci for Louis XIV at Versailles in 1683. These were substantial ebony cabinets fitted with pietra dura panels and gilt bronze mounts.

Later, in 1832, Baldock sold to the 5th Duke of Buccleuch a cylinder-top desk reputedly made for Pierre-Augustin Caron de Beaumarchais, the celebrated French playwright best known for The Barber of Seville and The Marriage of Figaro. This desk is now held at Waddesdon Manor, the Rothschild family estate in Buckinghamshire.

Baldock did not only resell historic pieces. He also designed furniture and commissioned craftsmen to produce it, often incorporating important elements taken from earlier 17th and 18th century furniture into new works. This practice became one of the defining characteristics of Baldock’s bespoke commissions and retail pieces.

Following the French Revolution in the late 18th century, many significant pieces of French royal and aristocratic furniture were dispersed through auction sales. Numerous works that survived this turbulent period were later purchased by British dealers and collectors, with Edward Holmes Baldock being among the most notable figures involved in acquiring and reintroducing such pieces into elite British collections.

Finally, the stamp “EHB” was identified in 1975 by Sir Geoffrey de Bellaigue, former Surveyor of the Queen’s Works of Art and a leading authority on French and Anglo-French furniture. Prior to this research, the mark had sometimes been mistaken by auctioneers for that of a French maker, due to Baldock’s strong Anglo-French stylistic approach. Numerous important pieces, both earlier 18th century works retailed by Baldock and furniture commissioned or assembled by him in the 19th century, bear this stamp. He remains a remarkable dealer whose work continues to be studied, with new discoveries and rediscoveries of pieces such as this cabinet helping to expand understanding of his practice.

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“The chest on chest is absolutely beautiful. It's exactly as described, and we are very pleased with it. From the very beginning of the phone call, service, response, kindness of Knight Antiques to the courier delivery, all on time with professionalism. All second to none. A well deserved 5 stars! We would be very happy to purchase again if the right thing came along."

Mandy