A near pair of George III rolled paperwork, painted and parcel gilt side tables circa 1790

the semi-elliptical tops centred by oval painted medallions, one depicting a musical trophy, the other a ribbon-tied basket of fruit, the frieze tablets decorated with birds rearing chicks in a nest, and a pair of squirrels, the tapered square legs with collars to the capitals and feet, the tops and legs profusely decorated with scrolled paperwork flowers, foliate and swags, variations to the paperwork decoration and mouldings to the tops

Comparative Literature:
Percy Macquoid, The Leverhulme Art Collections, III, Furniture Tapestry and Needlework, 1928, p. 88, no. 397, pl. 98
The Magazine Antiques, July, 1929, 'Rolled Paper Work.' Guy Cadogan Rothery, pp. 21-24
Country Life, May 5, 1944, 'Rolled Paper-Work', Bea Howe, pp. 778-779
The Antique Dealers Fair and Exhibition, 1959, 'Catalogue'. H. Blairman & Sons, London, stand 38, p. 20
June Field, Collecting Georgian and Victorian Crafts, 1973, pp. 11-15
Gillian Walkling, Tea Caddies, 1985
The Grosvenor House Antiques Fair, 1986, 'Catalogue', Eric Van Vredenburgh, London, stand 7, p. 117
Monique Riccardi-Cubitt, The Art of the Cabinet, 1992, p. 143, cabinet on stand
C.I.N.O.A. International Art Treasures Exhibition, 1962, The Victoria and Albert Museum. London, Temple Williams Ltd., London, no. 117, pl. 83.

Both tables in countury house condition with later gilding over what appears to be the orignial water-gilded finish. The paperwork to the tops is dusty with inevitable wear. There are variations to the tables as stated in the catalogue including the design of the papework, the medallions and the edge mouldings to the tops. Paperwork faded throughout with extensive loss to gilt highlights. Evidence of restoration to all the legs which may have been re-faced to the rear sides as they all have an ochre wash. On table 1 this restoration covers the full lenght of the legs, whereas on table 2 the rear frieze sections of the legs are are not the full thickness of the remainder of the leg and not finished in ochre. There are lso exposed steel fixing screws which appear to have been recently fitted. Table 1 (with floral medallion to top). Minor losses to paperwork, mainly on right side. Decoration to central medallion, slightly worn and discoloured. Chips to gilt edge of top mainly on left side. The top has slight warping. The frieze with minor losses to paperwork, mainly on the right side. The frieze medallion has some re-touching to the borders and has shrunk with the consequent gap to left side. Some discolouration to the background which may have been refreshed. Further minor losses to the paperwork on all of the legs. Minor chips to gilding on leg borders and feet. Table 2 (with musical trophy to top). Similar losses to rolled paperwork as evident in table 1 but if anything to a lesser degree. The medallions also in comparable condition except for a chip to the top medallion and a scratch to the frieze medallion. General chipping to gilt throughout. For further information on this Lot, please contact the English Furniture Department on 00 44 (0) 207 293-5470.
"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 art of adorning objects and creating with Filigree or rolled paper work was practiced by young ladies in England from the 17^th century to the early 19^th century, The New Ladies Magazine publishing in 1786-1787 a series of sixty patterns for rolled paperwork, describing the practice as able to 'afford an amusement to the female mind capable of the most pleasing and extensive variety' (Walkling, op. cit.). As with small needlework pictures and boxes of the same period, the art seems to have been a purely amateur practice, although in France, Germany and Italy, such decoration is frequently found ornamenting reliquaries and religious prints which were probably professionally made by nuns for commercial purposes.

Imitating the same patterns devised by the silversmith using precious metal, the color-stained and gilded paper allowed amateurs to create colorful works of art with less costly materials. As with contemporary needlework, the pieces are found both with dates and initials, references to the technique also being found in literature. In 1683 Samuel Pepys speaks of a basket made of paper filigree and it is frequently mentioned in the correspondence of Mrs. Delany (1700-1788). In the 1790s, Maria Holroyd, afterwards the first Lady Stanley of Alderley, wrote in her Journal 'I have learnt the Filagree work this winter and have done a Box in purple, green and gold for Mamma, It is dirty work, the dye of the paper comes off when wet with gum', and in Jane Austen's Sense and Sensibility (1811) Elinor Dashwood offers 'to roll the papers' for Lucy Steele who was making 'a little filigree basket'.

In 1791, Charles Elliott (1752-d. 1832) the cabinet maker and upholder of Shepard Street who had been appointed to the position of 'Royal Upholsterer and Cabinetmaker' in 1783, supplied Princess Elizabeth, daughter of George III, with a box prepared for decorating with filigree work. The box had ebony moldings, lock and key and was lined inside and out. Elliott also supplied fifteen ounces of different filigree papers and an ounce of gold paper. The latter was probably supplied by a specialist such as the stationer and printer William Heath of Well Court, Queen Street Cheapside who is recorded in various trade directories circa 1800. A surviving handbill lists a number of specialist paper products including 'Fillagree in Colours, Plain /....in Colours, Gilt / ...White do. .... / Card do. / Frosting of different fine Colours, for Fillagree work / A strong Cement for do. / Real Pearl Frosting / Speckles'. In addition Heath also supplied 'Tea Caddies' and 'Bottle Stands', obviously intended to be decorated by an amateur artist.

Besides these small articles, a small group of furniture decorated overall with filigree work survives of which the present tables are notable examples. As with the box supplied to Princess Elizabeth noted above, the frame of this and the other recorded pieces was almost certainly made by a professional cabinet maker, although the decoration is probably amateur work.  These include a cabinet on stand inset with painted prints and silk panels in the Leverhulme Collection (Macquoid, op. cit), a cabinet stand with an architectural pediment now in the Victoria and Albert Museum (Antique Dealers' Fair, op. cit.), and a small cabinet on a table stand formerly at Pelling Place, Old Windsor, Berkshire (Grosvenor House, op. cit.).  An unusual George III rolled paperwork and satinwood display cabinet, bearing a Royal Coat of Arms, which was a gift to Lady Anne Fitzmaurice by her brother Lord Kerry, sold Sotheby's New York, 21 October 2005, lot 291 (C.I.N.O.A. International Art Treasures Exhibition, op. cit.)