An important pair of George III painted satinwood and painted and parcel-gilt pier tables Circa 1795

each breakfronted D-shaped top veneered in satinwood and painted with a border of flowerheads, fruit and foliage within stringing and tulipwood crossbanding above a frieze divided into three sections, the center section of the first centered by a satinwood plaque painted en grisaille with seated putti representing Winter, the second centered by a satinwood plaque and painted en grisaille with standing putti denoting A Sacrifice to Hymen, each flanked by panels of carved giltwood crossed and ribbon-tied cornucopias joined by an oak leaf wreath, the left and right sections centered by a flowering rose flanked by fruiting oak branches, raised on four tapering fluted circular legs carved with beading and stiff leaves and headed by fruiting oak leaf quatrefoils and terminating in stepped plinth-form feet.  Restorations.

George Granville Leveson-Gower, 2^nd Marquess of Stafford, created Duke of Sutherland 1833 (1758-1833)

Thence probably by descent to his son, George Granville Leveson-Gower, 2^nd Duke of Sutherland (1786-1861)

Possibly W. S. Hobson, Leicester

James Orrock, London, circa 1901

With French & Company, New York

Important pair of pier tables exhibited in Blue Room of the White House from 1972-2002. In good restored condition, enhancements and restorations to the painted bands of flowers on tops and especially to the white backgrounds, beautiful figure to the satinwood, 4" bands at back ends of top probably where a mirror rested (crossbanding outlines them), painted frieze and gilding cleaned and restored, and as seen feet possibly extended in the early 19th century for the addition of a marbleized plinth, ?? described in the 1824 inventory and as seen in the 1900 photograph of Orrock's house, now lacking, losses to the carved elements of the leaf tips and flowerheads, restorations, repairs and replacements to back sections of frieze. Table 1 Age cracks, tops of front legs with repaired breaks, left front leg with later blocks at sides, age crack to left front with inpainting, 8" age crack to right center with inpainting, mirror replacements to veneers of crossbanding, rubbing to gilding, right back circular foot satinwood pine unlike the other three feet which are mahogany; central tablet to front darker in color than top; center support under top with cut-out section. Table 2 Table warped downward at right front corner, repaired break to right front legs and lacking side picese, restorations to crossbanded veneers of top and with some inpainting.
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.

As with the seat furniture, the form of the pier tables is also related to designs for 'Pier Tables' in Thomas Sheraton's Drawing Book, plate IV, the author noting that 'As pier tables are merely for ornament under a glass, they are generally made very light, and the style of finishing the is rich and elegant. Sometimes the tops are solid marble, but most commonly veneered in rich satin, or other valuable wood, with a cross-band on the outside, a  border about two inches richly japanned, and a narrow cross-band beyond it, to go all round.  The frames are commonly gold, or white and burnished gold'.  The 'rich' satinwood veneers to the tops of the present tables certainly conform to Sheraton's description, as does the 'richly japanned' border with its brightly colored band of summer flowers.  Their original use as pier tables is confirmed by the now in-filled slots on the back edges which would have originally supported flat-bottomed pier mirrors.  The japanned decoration to the tops has been refreshed, as has the white and gold decoration, although it is apparent that much of the original decoration is preserved beneath this restoration.  This presumably dates from the time the tables were placed on exhibition in the Blue Room at the White House in 1972.

 

The two tablets, which are painted en grisaille, depict respectively 'Winter' and 'A Sacrifice to Hymen', both originally taken from antique gems, and it is interesting to note that their published source is Michelangelo Pergolesi's Designs for various ornaments etc.1777-1801, the former signed 'G. B. Ciprani Invt.' and 'F.. Bartolozzi Sculpt.', the latter signed 'G. B. Ciprani, del' and 'F. Bartolozzi Sculp.'. These engravings were also the source of designs made by the sculptor John Flaxman for his work for the potter Josiah Wedgwood in the 1770s.

    

In the 1824 inventory of the furniture in the 'Principal Drawing Room' at West Hill, each table has a 'Marble plinth' which were present when they where in the James Orrock collection.  This form of support does not conform to any of Sheraton's designs and is, in fact, a form which was more commonly used in the early nineteenth century.  It is possible that they were added to the tables when they were first placed at West Hill, and their presence might confirm that the suite as a whole could have been made for another residence of the Stafford's.