A fine and rare George II giltwood and gilt-gesso torchère circa 1730

the octagonal top with carved with strapwork and foliage above an hourglass form neck with octagonal collar above an octagonal tapering stem carved with foliate strapwork continuing to a collar formed of three lions masks raised on a tripod of three cabriole legs carved with foliate strapwork and ending in paw feet. Over-gilt.

Overall good condition, re-gilded. The flaring support to the top possibly replaced. The gesso in good condition overall. One pair with large chip to gesso.gilding of knuckle of paw, another paw with small chip to gesso. Overall with very minor nicks 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 torchère with its octagonal top and foliate carved strapwork is similar to gilt-gesso furniture including stands made by James Moore and John Gumley for George I at Kensington Palace in the 1720s.  Often these stands were made to match large gilt-gesso pier tables and pier mirrors would be placed flanking the tables in order to light the mirrors.  The present torchère is also similar to stands made in the 1740s as it combines paw feet, cabriole legs, and a tapering octagonal stem with lions head masks at the base, all of which point to the Palladian influence. The torchère appears to be a transitional piece of furniture between Baroque and Palladian styles combing decorative elements from each genre.

For similar stands see Adam Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009, pp. 208-209