A George II carved giltwood and gesso side table

with a rectangular top carved with foliage and animals, the moulded frieze centered with a mask head, the shaped legs headed by masks on shaped legs, part 18th century with later alterations and re-gilding

The present table  sold Christie`s New York, Important English Furniture, 18th October 2001, lot 148, designated `The Property of a Gentleman' but with a previous provenance of Sir William Lever, Bt., later 1st Viscount Leverhulme, The Hill Hampstead, and also known to have been with Christopher Gibbs, London in 1970s.

 

 

P. Macquoid, English Furniture, Tapestry and Needlework of the XVIth- XIVTH Centuries, 1928, vol. III, no.262, pl.68.

This is a very decorative piece. The top has minor losses throughout to the gesso, age cracks and wear to gilding. Wear to gilding throughout. Some chips to ruff at front and to mask itself and also some age cracks. Some losses to gilding along lines of construction. Minor chips throughout. Once painted, now stripped with consequent loss to gilding.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present piece incorporates elements associated with some of the great designers of the first part of 18th century. The top with its strapwork design relates to such designers and makers as Daniel Marot and André Berain and which can also be seen in the work of James Moore. James Moore ( c.1670-1726) is recorded as a cabinet-maker at Nottingham Court, Shot`s Gardens, St Giles-in-the Field, London. A partner of James Gumley, he became one of the foremost furniture makers in the reign of George I, being not only a Royal Cabinet maker supplying gilt pier glasses, tables and other items for the Royal Palaces, but also supplying patrons such as Ralph, 1st Duke of Montagu at Boughton House and Sarah, Duchess of Marlborough at Blenheim, where he became comptroller of works after the dismissal of Vanbrugh. The form of the top of present table with its carved gesso ornament is typical of his type of work. 

The art of carving panels for table tops, table frames , mirrors and seat furniture in low relief in gesso which was then gilded, probably derived from the 17th century practise of covering furniture with thin sheets of silver which had been embossed with various designs including flowers, strapwork and cyphers. The gilding was always burnished to a high degree, and each piece must have appeared as solid gold in the low candle lighting of the period. The fashion derives from the French `Louis Quatorze' or `antique' fashion was popularised in the early 18th century by the ornamental pattern-book or Oeuvres  of 1712 isuued by William III`s `architect' Daniel Marot ( d.1752) . The present table was probably conceived to stand on a pier between two windows, flanked by torchères in a similar style and with a mirror above.

The figural motifs on the top of the legs is a recurring one on this type of table although it is rare to see them on a such a scale as in the present example. They appear on a table in the collection of the Dukes of Devonshire at Chatsworth ( cf. Oliver Brackett, English Furniture Illustrated, p.182, illus. and Ralph Edwards and Percy Macquoid, The Dictionary of English Furniture, rev. ed. 3 vols., 1954, vol III, p.313, fig. 21). For a related dressing table see Ralph Edwards and Percy Macquoid, op. cit, fig. 6. For further comparison see Sotheby`s sale of the Contents of Benacre Hall, Suffolk, 9,10,11th.

The maskhead in the centre of the frieze recalls the designs of the William Kent and for a discussion on his designs and illustrations of related maskheads see Susan Weber, William Kent, Designing Georgian Britain, 2013, pp.449-467.