A George III giltwood side table in the manner of Thomas Chippendale circa 1775

with a scagliola top.

Chevertons, Edenbridge, Kent, 1997

Overall good condition; glding refreshed; scagliola top with some minor nicks and wear to the extremities including two old shallow chips to the back edge; minor nicks and wear to gilding at extremities.
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 present table with its distinctive frieze and legs is similar to the work of Thomas Chippendale.  The frieze specifically recalls the work of Chippendale at Harewood House including a pier table with marquetry top with a nearly identical frieze and the inlaid frieze of the Harewood House library table, now in the Leeds Art Gallery (Christopher Gilbert, The Life and Work of Thomas Chippendale, vol. II, New York, 1978, p. 242 and 265, figs. 442, 443, and 485).

Designed by Robert Adam in 1758, Harewood House was one of Adam’s most impressive and complete houses, which allowed him the ability to completely design the exterior and interior of the house to his own specifications for Edward Lascelles, Earl of Harewood.  It was completed in 1765 at which time he began to design the architectural embellishments of seventeen rooms, making this Adam’s largest commission.  It is interesting to note that Adam did not make any furniture designs for the house, the entire commission going to Thomas Chippendale, whose furniture more than compliments the internal architecture and space (Eileen Harris, The Genius of Robert Adam, New Haven and London, 2001, p. 137)  This furniture commission began in the 1770s and lasted until the death of the Earl in 1795.