decorative art: exhibitions and celebrations || trollope and sons - makers and exhibitors of fine...

The Decorative Arts Society 1850 to the Present

Trollope and Sons - Makers and Exhibitors of Fine FurnitureAuthor(s): Jonathan MeyerSource: The Journal of the Decorative Arts Society 1850 - the Present, No. 25, Decorative Art:Exhibitions and Celebrations (2001), pp. 87-96Published by: The Decorative Arts Society 1850 to the PresentStable URL: http://www.jstor.org/stable/41809316 .

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Trollope and Sons - Makers

and Exhibitors of Fine

Furniture

Jonathan Meyer

The firm known from 1843 as George Trollope and Sons, exhibited widely at the series of international exhibitions that started in 1851. This article outlines the history of the firm briefly and analyses some of the pieces which were exhibited during that period; including both those which have appeared in the salerooms recently and others which remain lost. It is also intended to examine where possible the incorporation of enamel and porcelain and the various innovative techniques, which had been practised by the firm.

The business was founded by Joseph Trollope in 1778 and established at 15 Parliament Street. He was the son of Thomas Trollope, who had settled in London, from Louth in Lincolnshire; born in 1754 he was the first of the family to settle in Westminster.1 Their original business seems to have been that of stationers, apparently the same trade as carried on by his great uncle Joseph Trollope of Louth; bookseller and stationer. In the eighteenth century paperhanging was part of the usual stock-in-trade of a stationer. The Joseph, who moved to London, married Sarah Chinner of the parish of St George, Hanover Square. It was at St Georges that his five eldest children were baptised, indicating that the couple remained in that parish until 1789, when they moved nearer to the business; the two younger children being baptised at St Margaret's, Westminster. Of their sons, only Joseph Amos Trollope, (born 3 September 1784) and George (born 15 September 1792) survived.2 Both joined the firm, Joseph being followed by his brother in 1818. After a brief career in the war office, he then retired in favour of George and died in Essex in 1856. George married Mary in 1817 and of their sons, George Francis (1818-1895) and Robert Leonard (1821-1895) became partners in the firm.3 As the business was registered as George Trollope and Son in 1843, it would seem likely that George the younger joined then, followed by his brother Robert in 1846 when the name was extended to 'and Sons'.4

Although there is an in-house letter book preserved for the years 1787-1808, which records work for clients at Kingston Maurwood, The Vyne, Vale Royal, Burghley and Shugborough, there is very little information on the years between 1810-1 850. 5 It is recorded however that at the time George joined the firm in 1843 it undertook 'other trades connected with house building'.6 It is probably from this date that the company's skills in paper hanging, decoration and building were extended to furniture production.7 They also combined speculative building with estate agency

and had an agreement with Thomas Cubitt to let his houses for a 1% commission (the normal commission was 5%). 8 After Cubitt 's death in 1857 they took several sites from his executors including the north side of Eccleston Square, which they completed between 1857 and 1859. These contacts would probably have helped them find clients. As Thomas Cubitt was one of the commissioners of the Great Exhibition, their contact might well have encouraged them to take part. It is difficult to establish how important the cabinet making arm of the firm was by 1851, but judging from the reports and the furniture illustrated they were not considered as highly as they were by the mid 1860s, following the 1862 exhibition. A case reported in the Builder refers to them as the well known house agents.9 By 1864 they had taken premises at West Halkin Street in the heart of Belgravia, which would have given them an excellent base to attract clients settling in Cubitt s new developments. An entry in the diary of Lady Frederick Cavendish for 13 December, 1864 also indicates the standing of the firm. 'Thence to our splendid mansion No 21 Carlton House Terrace, where we met my old Meries and Mr Talbot and Trollope, the builder-and-furnisher's man. And we have settled the whole painting of the house, chosen all the papers and the principal grates and discussed many other points.'10 In the following year they had four separate premises; their original address at Parliament Street, West Halkin St, the Belgrave Works and Grosvenor St West. They added a fifth in 1870 in the High Street, Vauxhall. 11

The building side of the business ran in difficulties over developments in the vicinity of the newVictoria station, but this doesn't seem to have affected the cabinet making side; it may be that by then they were almost distinct businesses.

A survey of the pieces they exhibited will show that they enjoyed greatest acclaim from the time of the 1862 and 1867 exhibitions, and that this had declined somewhat by the Paris exhibition of 1878. For the Great Exhibition of 1851 the catalogue records them as showing a 'sideboard elaborately carved in oak representing hunting and fishing'. This piece is illustrated in the Art Journal, where it is describes as having 'rich and elaborate carving'. 12 The wood employed is not clear from the engraving, although the detailed work would suggest walnut. In comparison with much of the over carved and heavy sideboards exhibited, especially in the English section, this piece shows a lightness of touch rather in advance of its time. Although not mentioned in the catalogue, the jury reports refer to 'bed and toilet furniture',13 which is reproduced in chromolithograph by Digby Wyatt in his highly informative work.14 The toilet mirror and chest, (fig. 1) incorporate marquetry work which was highly praised by Wyatt, who observes that much contemporary marquetry employed artificially stained woods, which were not usually durable, too brightly coloured and poorly assembled in garish combinations. Trollope, he

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Fig. 1 . A marble topped marquetry chest and mirror, chromolithograph from Matthew Digby Wyatt Industrial Arts of the XIXth Century at the Great Exhibition 185Î, Published Day and Son 1853. Plate 75 Bedroom furniture in marqueterie byTrollope of London.

says has tried to overcome these difficulties and did not use artificial colours; he hopes, 'that they will improve and mellow with time. Original beauty may be restored with scraping'. This last statement suggests that he considered even the natural colours rather bright. The reference to 'scraping' gives an insight into Victorian attitudes to restoration; he must mean that When the colours have faded they can at least be recovered, something which could not be achieved with artificial colours. Again it is not clear what the primary wood may be, perhaps walnut, satinwood or Russian maple. Above twenty different woods were incorporated including, 'holly, cornwood, tulip, sandal, purplewood, ebony, Barbary wood, Russian maple, mulberry, kingwood, amboyna, walnut and porcupine wood'.

British cabinet makers did not take full advantage of the first opportunity to exhibit furniture at an international exhibition in Paris in 1855.Trollope and Sons showed alongside Crace, Banting, Jackson and Graham, Gillows, Levien, Morant and Boyd, Holland and Sons and J.Webb. Under Trollope, the catalogue simply lists, 'marquetry furniture of stained woods', the Art Journal goes into more detail describing 'a wardrobe

of satinwood, the parts being well arranged, and inlaid chiefly with tulip and green-wood interspersed with the wood of the linden tree, which is not unlike ivory in colour and appearance'.15 There is no engraving of the piece. Although there is no documentary evidence for it, the Paris exhibition must have encouraged makers such as Trollope to look to France for workmen and designers. Some companies had already benefited from the exodus of French craftsmen following the 1848 revolution. Jackson and Graham's cabinet for example was designed by the Frenchman Prignot. Significantly they had ordered plaques from the Sevres manufactory to be incorporated in it, but because of late delivery, they had been supplied by Minton and Co. Trollope was making use of French suppliers for enamel plaques by 1865 and surely the 1855 exhibition encouraged such co-operation.16

The firm attracted great interest and acclaim at the second international exhibition in London in 1862. The period following the exhibition seems to have led to the firm's expansion; at the time of the exhibition they are still recorded at Parliament St, but as we have seen by 1864 they were at four separate addresses. Literature and reports of the exhibition indicate their standing with the public had been enhanced and the range of work together with the expense of the materials employed supports this. The catalogue entry simply reads, 'carved chimney piece, decorations and cabinet furniture'.17 Recently a cabinet shown at the exhibition (fig. 2) appeared on the market. It had reputedly come from North Park, Epsom the property of Lord Egmont. It was carved in solid ebony and incorporated marquetry

Fig. 2. Engraving of the side cabinet byTrollope shown at the 1862 International Exhibition. The Art Journal Illustrated Catalogue of the International Exhibition 1862, James S. Virtue, p. 1 1.

88



panels and lion masks in gilt-bronze. There were porcelain ovals by Copeland showing Benvenuto Cellini, Bernard Palissy, Rafaello Sanzio and Michaelangelo Buonarotti. (fig. 3, 4). The piece had been designed by Richard Beavis, formerly a pupil of Marlborough Howe school, and the carving carried out by Mark Rogers, who served as the foreman of Trollope's carvers. He may have been related to W.G.Rogers, whose carving had been famous for many years and who was joined by his son G.A.Rogers. The piece is a departure from the earlier work of the firm, monumental in design and in the use of solid ebony sparing no expense.The use of ebony in this and works shown in Paris in 1867, was a specific attempt to rival French makers, who favoured the material. The Jury reports read, 'with regard to the ebony cabinet, if objection may be made to the arrangement of the lower part, the beauty of execution fully compensates for this defect of the elegance and simplicity of the general form; The inlaid woods, the carving of the figures on the pediment, the enamelled paintings are treated with great care, and cause this cabinet to be regarded as a quite exceptional work, superior even to the other productions of the same exhibitors'.18 The Illustrated

Fig. 3. The 1862 side cabinet by Trollope, detail of the door, showing the marquetry and roundel by Minton, of Bernard Palissy. Sold Sotheby's, London, Lot 291, 3"1 Oct 1997.

Fig. 4. The 1862 side cabinet by Trollope, detail of a roundel by Minton, showing Raphael.

London News praises the piece very highly even rating it above the work of the celebrated Paris maker Fourdinois. It stood on the north side of the furniture court. The style is described as Cinquecento, the marquetry 'wrought by wood inlays; red, yellow, cream, and grey woods being inserted in the ebony.' On inspection of the piece today, this suggests that the colours did not have the permanency hoped for as they do not contrast in such a striking way. The writer also refers to the 'electro-gilt' mounts, in such away as to draw attention to the technique, which today might be played down. The use of electrolysis was considered a great advance and an important contribution to the industrial arts. The writer considered it 'one of the most exalted works of its class brought before us in the exhibition'.19 A chimneypiece in the same exhibition (fig. 5) demonstrates both the range of the firm and its roots in the building trade. The design is again by Beavis in the 'Lombardo-Gothic' style and the modelling by Mark Rogers. The fire-surround itself was in carved stone with marble columns and alabaster capitals by Mr W. Field. The frieze with medallions of red spalr on a black marble ground. The clock within the central pediment was supplied by Dent. The whole of the mantle and the superstructure was in oak, inlaid with bands of . ebony and a darker stained oak. The central section, which appears filled with a patterned paper was intended to contain a picture. The wooden panels were carved with foliage and busts of Homer, Virgil, Dante and Petrarch, with Apollo in the central

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Fig. 5. A chimney Piece by G.Trollope and Sons, London, chromolithograph, Plate 64, John Burney Waring, Masterpieces of Industrial Art and Sculpture 1862,. The comments reinforce the standing of the firm, "Messrs. Trollope & Sons, who were always well known for their well-earned reputation as one of the oldest established houses in London."

panel at the top. The fire irons and the grate were made by Feetham of Clifford St. from models by Mr Baylis.20 This ensemble illustrates well how common it was for companies with different specialities to co-operate for these exhibitions. J.B.Waring particularly praises the importance of good taste and like many critics of his time he especially dislikes the French rococo revival. While he can accept the more restrained 18th century revival as expounded by Wright and Mansfield he feels that 'for works of a higher class, and which are more in harmony with the sobriety and strength of Anglo-Italian architecture, inspiration must be sought in a better system of art, such as was so ably carried out by Messrs Trollope'. 21 The firm also showed a sideboard in walnut, which was un-illustrated. It was described by Peter Graham of Jackson and Graham, as 'a walnut wood sideboard of great excellence in design and execution. The centre is straight and open, the top inlaid with ebony in lines, the frieze is enriched by fluted carvings, between which are small panels with carved ornaments in each'.22

Another piece, which came to light last year, (fig. 6), was an ebony and marble mounted cabinet. Strangely it was found in Sweden, where for a long time it had been in the possession of a bank. Bearing in mind that

furniture of this type was of very little value until relatively recently it is likely that it was purchased by a Swede at the time of the exhibition, rather than acquired in the early years of this century. Exhibition pieces were certainly sold to collectors throughout Europe. This cabinet is not of such high quality as the 1862 example, although some of the carving and the enamel work are exceptional. It was first shown at the 1865 exhibition in Dublin and from the catalogue it would appear that it was the only piece the firm sent. It was not uncommon for the same piece to be shown at different exhibitions and subsequently it was at the Paris exhibition of 1867. The catalogue entry merely lists 'decorative cabinet furniture', but the French Jury reports are very detailed and mention two cabinets- crédences in Italian renaissance style, another cabinet- crédence, a drawing-room table in ebony, another table of the same model, a renaissance style octagonal table, and a walnut sideboard.23 From the tone of the report, this was probably a complete list of the display. The

Fig. 6. An ebony, pietra dura and enamel mounted side cabinet by Trollope and Sons, shown at the Dublin exhibition of 1865 and the Paris exhibition of 1867. Sold Sotheby's London, 6th October, 2000.

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Fig. 7. An ebony side cabinet by Trollope and Sons, shown at the 1867 Paris exhibition, The Illustrated Catalogue of the Universal Exhibition published with the Art Journal, Virtue and Co, p. 36.

reports and the Art Journal illustrate the third cabinet, (whereabouts unknown) which is applied with vignettes of Milton and Raphael, probably similar to those on the 1862 cabinet (fig. 7). The Cabinet, which came to light is clearly related to the piece illustrated and described in more detail in the reports. It has an identical frieze and columns, although the doors and lower section are different. The reports describe it as 4 style Renaissance italienne .. Très beaux et sévères de lignes '. It incorporated flat areas of marble in the lower section above a drawer centred by a lion mask similar to the one, which appeared on the 1862 cabinet. The French reports continue, ' sculpture très-étudiée, probablement faite par des Français , dont on reconnaît le style ' in fact the Art Journal attributes the work to Rogers, who as the carvers' foreman would be the mostly likely candidate. The enamel plaques however, which depict two Roman figures on each door and exquisite grotesque masks in the frieze are certainly French (fig. 8). 24 The larger plaques are signed with the initials P.S. This artist has not been identified, and there is no record of a suitable candidate in the reports of the enamel workers at the exhibition. Bernard Bumpus has drawn attention to the work of the Sollier Brothers, referred to in a

retrospective article in the Gazette des Beaux Arts as being pre-eminent in this field during the 1860s.25 This seems a plausible suggestion, which would benefit from further research. Whether the second of the two was a pair is not known. What is certain is that Trollope had begun to order work from French craftsmen and although English carving, contrary to the French jury s view, was of a very high standard, enamel work of this quality could not be obtained in England. The engraved example was applied with masks on the frieze between the triglyphs and described as inferior to the two preceding examples. It is interesting to note the vase engraved on the platform stretcher, which could be French or maybe by Minton. It seems to have been quite common for different exhibitors to co-operate in this way. At the Philadelphia exhibition in 1876, Theodore Deck showed his ceramics on some of the English cabinets by Cox.

The end of the table described as a salon table in ebony with gilt-bronze and ivory inlay is shown in the Art Journal.26 (figs. 9 and 10). This table or an almost identical example was sold at auction in 1996. The sold example was of very high quality, the only difference would seem to be in the mention of ivory, which didn't appear on the sold example, although the design is identical; it is possible that the contempory reports are incorrect, inaccuracies being not uncommon. The basic model was repeated and at least two lesser quality versions have come onto the market since. (figs. 11 and 12) The octagonal table (fig. 13) is also, rather tantalisingly shown only in part but is fully described by the French jurors; they clearly rated it highly. In view of the limited illustration the description is worth noting in full

Table octogone , style Renaissance , ébène et bois d'amboine, supportée par huit potences se terminant en patins recourbés et liés dans le bas à un plateau à pans , sorte de socle isolé; entre les potences , des alettes et un fronton enforme de portique, et à claire-voie, ce

Fig. 9. An ebony and gilt-bronze salon table from the 1 867 exhibition, sold Sotheby's London, Lot 151, July 5th 1996.

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Fig. 8. Enamel panels, one signed P.S. from the 1867 Exhibition cabinet.

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Fig. lO.Detaü of the 1867 Table.

Fig. 1 1 . Detail of a lesser quality table made to the same design as the 1867 model, showing the 'sgraffito' technique. Sold Sotheby's Sussex, April 2001.

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Fig. 12. Detail of a label found on the table shown in Figure 11.

qui donne une grande légèreté à V ensemble du pied. Ce plateau , avec une moulure compliquée et finie de profils ; le portique est carré dans le haut, le fronton au-dessus est appliqué sur une partie unie qui fait ceinture , et, sur chaque angle de ce polygone, s'appuient les potences à formes découpées, et venant rejoindre le bord extrême de chaque section des pans du dessus de table ; ce dessus, avec bordure ébène, et milieu bois d'amboine. Ce dernier bois se revoit dans le plateau et dans la ceinture enforme de panneau}1 The buffet in 'modern Renaissance' style is engraved

in full. (fig. 14) In walnut it is more typical of English manufacture and consequently was considered rather too heavy by the jurors. All the pieces previously described were considered to be of a quality to rival the French ébénistes.

Like a number of leading British and French firms, Trollope underestimated the potential of the growing American market and decided not to send pieces to the centennial exhibition in Philadelphia in 1876. The next opportunity came in Paris in 1878. From the recorded sources of the exhibition, it would seem that Trollope's productions were regarded rather less highly than formerly. The firm is not mentioned as frequently as for either the 1862 or the 1867 exhibition.The report which appears in the Gazette des Beaux-Arts, although discussing other leading English firms makes no mention of them at all. Another French publication refers only to a boudoir decorated by the firm, which takes the theme of Pope's The Rape of the Lock, for its subject.28 The Art Journal however dedicated a page to several pieces.These include a large mirror frame carved in limewood in Renaissance style and a satinwood cabinet in Adam revival style, with a similar armchair. In strictly classical style there is a pair of amphorae in Algerian onyx supported by tripods in nickel plated cast iron. A boudoir in cedar wood in Queen Anne style, probably another complete room, incorporating 'a fine chimneypiece in rosso-antico marble with beautiful carved decoration in cedar' is referred to but not reproduced.29 The displays were rather spread out for the exhibition, considerable attention being given to the English houses in the Rue des Nations, which included the House of the Prince of Wales, designed by Norman Shaw and built by Lascelles, the English house in Elizabethan style by Gilbert Redgrave and the House of Messrs Collinson and Lock. Trollope had not been invited to contribute to the furnishings of

any of these houses and all their display was in the main industrial halls. Clearly the opportunity to have taken part in the building of a house as well as its decoration would have been wonderful for a firm like Trollope and the fact that they did not take this up may be explained by the difficulty that the building side of the business underwent in the late 1860's. This difficulty may also have influenced the rather more conservative nature of the exhibits for 1878 (fig. 15).

It was at the 1878 exhibition that the firm was recorded as using the apparently new techniques of xylatechnography and sgraffito.30 It is often difficult establishing the exact nature of techniques of this kind because they were kept secret by the makers, who employed them. The former seems to have been a method of impressing coloured designs into soft wood

Fig. 13. Portion of an Octagon Table, shown at the 1867 exhibition, The Illustrated Catalogue of the Universal Exhibition published with the Art Journal, Virtue and Co, p. 36.

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thereby giving the effect of marquetry. It must be admitted that the author has not found a piece, which could definitely ascribed to this technique. The firm of Whitburn and Young displayed a similar technique introduced by T.Whitburn which they called xylography. Sgraffito on the other hand is likely to have the process of engraving a veneer so as to reveal the base wood, in much the same way as a slip over a ceramic base was incised before firing. The table (fig. 11) seems to have been decorated by this process. In some cases two veneers were applied so that the engraving revealed a more complicated effect. This was noted recently on

a pair of cabinets which appeared at auction.31 Judging purely from the exhibition records the firm

seems to have declined after 1878 and did not show at either the 1889 or 1900 exhibitions in Paris. They are however recorded as opening a branch at Bold Street in Liverpool in 1890. Undoubtedly they are a firm worthy of further research as they were right at the forefront of the furniture business in London from around 1860 to 1880. No doubt interest will be stimulated by the rising values for exhibition furniture of this type. By way of a postscript it is worth noting that the cabinet from the 1862 exhibition (fig- 2)

Fig. 14. A carved walnut buffet, The Illustrated Catalogue of the Universal Exhibition published with the Art Journal, Virtue and Co, p. 181.

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fetched £150,000 at auction in Sothebys London in 1997, having been sold for only £680 at Belgravia in 1973. The table from the 1867 exhibition (fig. 9) made £40,000 in July 1996. It is the hope of the writer that this article will stimulate further research and bring other items to light. Much needs to be done to enable us to rediscover and identify with greater certainty these long neglected makers and forgotten techniques, so representative of nineteen century establishment taste.

Fig. 15. Detail of pieces onTrollope and Sons' stand for the Paris 1878 exhibition, The Illustrated Catalogue of the Paris International Exhibition 1878, Virtue and Co, p. 129.

Jonathan Meyer studied Theology at Keble College and joined Bonhams in 1977. He has been director in charge of 19th Century Furniture at Sothebys in London since 1994 and is currently researching for a book on the series of exhibitions in London and Paris and the US between 1851 and 1904. He is currently the chairman of the Antiques and Fine Arts Faculty for the Royal Institute of Chartered Surveyors.

NOTES 1 He died in 1808. A stained glass window to him and his two sons, was erected at Saint Margaret's, Westminster. 2 He died 20 February 1871 at his residence in Wimbledon, the Hill House. 3 Of George's descendants, John Evelyn was an architect and George Haward became President of the Central Association of Master Builders and of the Institute of Builders. 4 The Family of Trollope, Mark Napier Trollope, Privately printed Spottiswoode and Co, 1897, pp.106-122. 5 Formerly in the GLC Archive. 6 Andrew Saints, MSS V and A, 1977. 7 Lamb of Manchester had also seen the advantages of producing furniture for an existing and increasingly wealthy clientele. His grandfather had specialised in building industrial mills in the north west. 8 Thomas Cubitt, Master Builder, Hermione Hobhouse, MacMillan 1871, p.267. 9 Vol IX, p. 463. 10 Quoted Andrew Saints, Op. Cit. 11 Ibid.. 12 The Art Journal, Illustrated catalogue of the Industry of all Nations Ì85Ì, George Vertue, 1851, p70. 13 Reports by the Juries, Spicer Bros, London 1852, pi 201. It is worth noting that the catalogue cannot always be relied on for accuracy. Items were frequently added during the exhibition and some exhibitors must have submitted lists of their proposed entries well in advance, subsequently changing them. There are also inconsistencies between the varyious editions of the catalogue. 14 Industrial Arts of the XlXth Century at the Great Exhibition 1851, Matthew Digby Wyatt, Published Day and Son 1853, Plate 75. 15 The Exhibition of Art- Industry in Paris 1855, Vertue and Co, London 1855, pXI. 16 This can be inferred from the use of the French enamel plaques, which appear on the cabinet first exhibited at Dublin in 1865 and later in Paris in 1867. (Figure 6) 17 The Illustrated Catalogue of the International Exhibition 1862, Vol I, class XXX, p.41, No 5841. 18 The Jury Reports, London 1862, Section XXX, p.3. 19 The Illustrated London News, Vol 41, July 1862, p. 42. 20 Masterpieces of Industrial Art and Sculpture 1862, J.B. Waring, PI. 64. 21 Ibid. PI. 132. 22 Record of the International Exhibition 1862, London 1862, William Mackenzie, Editor, p.490. 23 Rapports des Délégations ouvrières, Vol I, p.75. 24 The author noticed by chance that these masks bear striking similarities to masks above the window recesses on a number of houses in Queen Anne's Gate, close by Parliament Street. It is not impossible that they were the inspiration of the cabinet masks. 25 Gazette des Beaux Arts, 1893, Vol 9, p.427. 26 The illustrated catalogue of the Universal Exhibition, Virtue and Co, London and New York, 1867, p.36. 27 Ibid. 28 L'Art et L'Industrie de tous les peuples à L'Exposition Universelle de 1878, Published Libraire Illustrée, p.275. 29 The Illustrated Paris Universal Exhibition, English Edition authorised by the Imperial Commission, published by Illustrated London News, p.329. 30 The Illustrated Paris Universal Exhibition, English Edition authorised by the Imperial Commission, published by Illustrated London News, p329. 31 Lot 132, Sothebys, London June 14th 2001.

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