- 269
An important and rare George II mahogany games table circa 1750
Description
- mahogany
- height 29 1/2 in.; width 37 3/4 in.; depth closed 18 3/4 in.; depth open 37 1/2 in.
- 74.9 cm; 95.9 cm; 47.6 cm; 92.3 cm
Provenance
Eric Moller, Thorncombe Park, Surrey
Sold, Sotheby's, London, The Moller Collection from Thorncombe Park, Surrey, November 18, 1993, lot 57
Literature
Condition
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.
Catalogue Note
The present table with its pierced foliate acanthus frieze and gadrooned apron, rocaille and acanthus carved legs with paw feet embodies the English rococo style of the late 1750s, a style which Mayhew and Ince were keen to capture in their The Universal System of Household Furniture issued between 1759 and 1762, especially after Thomas Chippendales hugely successful The Gentleman and Cabinet-Maker's Director issued in 1754, 1756, and 1762. The present table is similar to a design for a card table, plate LXIII in The Universal System with the almost identical rocaille carved corners and a very similar handling of the carved acanthus leaves to the frieze. The difference in the present lot to the design is that the frieze is pierced and is anchored by a strong gadrooned apron which lends weight to the light and airy frieze. The paw feet are also a remnant of a heavier rococo closer to Palladian and baroque furniture of the 1720s, 30s and 40s.
In many ways this piece seems to be an experiment in new rococo design in England, noting the continued use of the paw feet, C-scrolls to the ends of the frieze and the symmetry of the frieze. This is very different from the rococo of the 1760s with asymmetrical use of motifs and the more free-flowing carving seen in chairs, mirrors and pier tables championed by designers like Chippendale, Matthias Lock, and Thomas Johnson. Nevertheless, the use of beautiful timber, the excellent proportions and the carving as well as the clever design of the pierced frieze contribute to the success of the design of the present piece.