Each with foliate-wrapped reeded frame, the cantilevered screen covered in embroidered silk and flanked by fir-cone finials above acanthus- wrapped columns, on foliate trestle end-supports with central shell motif to the sides, joined by a baluster stretcher, on lion-paw feet, one leg with repaired break, one screen lacking its counterweight mechanism and the inner slip replaced

45¹⁄₄ in. (115 cm.) high; 29³⁄₄ in. (75.5 cm.) wide; 22 in. (56 cm.) deep

Supplied to Hugh Percy, 3rd Duke of Northumberland (d.1827) for Northumberland House, London by Morel and Hughes.
Acquired from Asprey, London.

This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.
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Lot Essay

The George IV 'Roman' firescreens were commissioned in 1823 by Hugh Percy, 3rd Duke of Northumberland (d. 1827) for the Drawing-Room at Northumberland House, London, which had been decorated in the 1770s by the architect Robert 'Bob the Roman' Adam (d. 1792). They are designed in the French antique manner by the French artist Nicholas Morel, with their 'cheval' frames wrapped by Roman acanthus and their reeded pillars capped by bacchic thyrsae or festive cones, while Venus shells embellish their 'claws', which terminate in lion monopodia in the Roman 'tripod' fashion. They formed part of the Duke's 'splendid furniture' that Rudolph Ackermann praised in The Repository of Arts, 1825; and were invoiced by Messrs. Nicholas Morel and Robert Hughes on the 31st March 1823 as: '2 cheval screens richly carved and gilt in mat. & burnished gold, with 2 columns to each with carved capitals and bases, the fronts and sliding mounts covered with silk damask finished with gold colour silk gimp, standing on carved claws £212.10.0.' Messrs. Morel and Hughes of Great Marlborough Street had been amongst the principal furnishers of Carlton House, George IV's palace while Prince of Wales, and Morel later formed a partnership with George Seddon for his furnishing of Windsor Castle.