A George I style giltwood and gesso side table

possibly by James Moore, the rectangular top carved overall with strapwork and centred with an oval paterae, above a shaped drawer, on cabriole legs headed with carved Indian heads, top pegged

The piece appears to have been largely re-constructed using old elements. The gilding throughout this table seems worn quite evenly particularly on the top and has been re-newed on the frieze, drawer and legs. The drawer linings appear to be constructed from old elements, as do the runners for the drawer. Some age cracks to the top and sides. It is a decorative piece.
"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."

James Moore ( c.1670-1726) is recorded as a cabinet-maker at Nottingham Court, Shot`s Gardens, St Giles-in-the Field, London. A partner of James Gumley, he became one of the foremost furniture makers in the reign of George I, being not only a Royal Cabinet maker supplying gilt pier glasses, tables and other items for the Royal Palaces, but also supplying patrons such as Ralph, 1st Duke of Montagu at Boughton House and Sarah, Duchess of Marlborough at Blenheim, where he became comptroller of works after the dismissal of Vanbrugh. The form of the present table with its carved gesso ornament is typical of his work. 

The art of carving panels for table tops, table frames , mirrors and seat furniture in low relief in gesso which was then gilded, probably derived from the 17th century practise of covering furniture with thin sheets of silver which had been embossed with various designs including flowers, strapwork and cyphers. The gilding was always burnished to a high degree, and each piece must have appeared as solid gold in the low candle lighting of the period. The fashion derives from the French `Louis Quatorze' or `antique' fashion was popularised in the early 18th century by the ornamental pattern-book or Oeuvres  of 1712 isuued by William III`s `architect' Daniel Marot ( d.1752) . The present table was probably conceived to stand on a pier between two windows, flanked by torchères in a similar style and with a mirror above.

The figural motifs on the top of the legs is a recurring one on this type of table. They appear on a table in the collection of the Dukes of Devonshire at Chatsworth ( cf. Oliver Brackett, English Furniture Illustrated, p.182, illus. and Ralph Edwards and Percy Macquoid, The Dictionary of English Furniture, rev. ed. 3 vols., 1954, vol III, p.313, fig. 21). For a related dressing table see Ralph Edwards and Percy Macquoid, op. cit, fig. 6. For further comparison see Sotheby`s sale of the Contents of Benacre Hall, Suffolk, 9,10,11th May 2000, lot 34, a table with similar figural detail carved to the legs, sold £200,000.