An important Irish George II mahogany side table circa 1755

the rectangular figured top with a molded edge and rounded corners above a plain conforming rectangular frame above an out-curved molding carved with an incised lattice pattern, the protruding pierced apron centered by a boldly carved lion's mask, its mouth agape with protruding tongue and wild crisply carved flowing mane and beard, its hair with scrolled curls, flanked by pairs of swags of oak leaves with acorns and flower heads supported at each end by further flower heads and scrolled acanthus leaves, supported on acanthus leaf carved cabriole legs, the square section paw feet with scrolled leaf carved ankles, each side with a scallop shell above swags of drapery supported at each corner by flower heads and scrolled leaves, the back legs similarly carved to those at the front.

The Collection of Dr. Cremins, Dublin, Ireland
Thence by descent to his daughter by whom sold, Messrs. Hamilton, Osborne and King, Fine Art Auctioneers, Blackrock, Co. Dublin, Ireland, June 2000
Tom Devenish, New York

Overall very good condition; with a beautiful matted wax surface, the top with usual old stains scratches and bruises; the center of the top with light discoloration to center; some scratches and wear to top; wonderful old surface, some minor old worm damage to back rail; beautifully carved, lovely color, great surface
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The richly detailed carving seen on this table superbly represents the skill and the artistry of the Irish craftsman working in Ireland in the mid-eighteenth century. Below the plain top, eminently suitable for the display of plate, the apron is centered by a deeply sculpted lion's head, which is probably one of the most recognizable features of Irish carving at this period. As noted by The Knight of Glin and James Peill in Irish Furniture - Woodwork and Carving in Ireland from the Earliest Times to the Act of the Union, Yale University Press, 2007, this image was possibly originally inspired by the architect Edward Lovett (c. 1699-1733), who 'was responsible for the introduction of the Kentian plaster tabernacle frame in the style of William Kent and the compartmented ceilings to the Irish interior' (Knight of Glin and James Peill, op. cit.). He was responsible for the interior decoration of 9 Henrietta Place, Dublin. The wooden chimneypiece and over-mantel, which is illustrated by The Knight of Glin and James Peill, (op. cit., fig 68), 'is thoroughly Kentian in inspiration and the lion mask and the frieze was almost immediately reproduced in furniture'. The heavy swags of oak leaves and acorn, sacred to Jupiter, together with the scallop shells, the attribute of Venus who was born of the sea, similarly represent Kent's style, examples of which were included in Some Designs of Mr. Inigo Jones and Mr. Wm. Kent, published by John Vardy in 1744.       

A number of similarly designed and carved tables are recorded, many with the attributes of Jupiter and Venus, framing panels of cross hatching, and the feet similarly carved with paws with foliate scrolled ankles. This almost certainly indicates a small and close-knit group of carvers, working both with architects and builders, and with local cabinetmakers, frame-makers and gilders, the relatively small group of local patrons presumably demanding similar fashionable furniture. Although a considerable  number of these tables are recorded by The Knight of Glin and James Peill, (op. cit,) few appear to have remained in the houses for which they were originally commissioned; the lack of precise documentation other than lists of cabinetmakers makes identification of the original maker of these and the present table virtually impossible.  

It should finally be noted that, as with most surviving Irish furniture, the table was originally finished with a dark polish which, in the present lot, has survived in a worn and fine patinated condition.

See:
The Knight of Glin and James Peill, Irish Furniture, New Haven and London, 2007