Charles Francis Annesley Voysey

oak, the rectangular serving top flanked by uprights surmounted by four angels singing grace, carved by William Aumonier, joined by a moulded stretcher with a rear shelf, above three frieze drawers and an open lower tier, on bronze ball feet

Duncan Simpson, CFA Voysey-Architect of Individuality, London, 1979, pp. 139-140, fig. 72 

A rare and striking piece by this important Arts and Crafts architect. With a pleasing dark brown patina, which is darker and less orange than is shown by the catalogue illustration. Carved figures are detachable and have later dowels. Old marks and scratches consistent with age and use. One or two marks and watermarks to tops, totally consistent with age and use and not distracting. A previously unlocated piece, ready for display.
"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."

Simpson (op. cit. p. 139) cites that at least two examples of this sideboard or carving table were made, the first in 1912, the second circa 1923. He also notes that only one example survives, which is ilustrated in a contemporary photograph. The present lot is the previously unrecorded example. 

A detailed drawing by Voysey of the four figures is dated March 13 1923  and held in the R.I.B.A. Library Drawings & Archives Collection, London. The design is inscribed with the instructions 'These Angels to be carved in English oak & not to look either male or female.' Simpson points out that the angels are modelled 'singing grace grouped around the surface of the [carving] table'. Voysey used two carved figures in a similar way on a much earlier piece (see Simpson, op. cit. fig. 26), a set of hanging shelves, completed before 1896.