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A GEORGE III ORMOLU-MOUNTED SCAGLIOLA AND PLASTER SURTOUT DE TABLE
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A GEORGE III ORMOLU-MOUNTED SCAGLIOLA AND PLASTER SURTOUT DE TABLE

THE TOP CIRCA 1800, THE BASE 19TH CENTURY

Details
A GEORGE III ORMOLU-MOUNTED SCAGLIOLA AND PLASTER SURTOUT DE TABLE
THE TOP CIRCA 1800, THE BASE 19TH CENTURY
The rounded rectangular top in three sections and decorated in the late 18th century Etruscan style with four medallions with seated maidens emblematic of the four seasons, the central panel with two tablets one depicting Ceres, the other depicting Neptune or a river god, each tablet and medallion with vine-draped Bacchic panther, enclosed by a border of laurel with pearled edge, divided by six tablets depicting vases, with pierced ormulu gallery, above a plain frieze, on lyre end-supports, on panelled plinths joined by a panelled stretcher centred by a painted plaster oval depicting a reclining maiden, on bronzed paw feet with sunk brass castors, restorations to scagliola and plaster top
30½ in. (77.5 cm.) high; 63½ in. (161 cm.) wide; 22½ in. (57 cm.) deep
Provenance
The Grant family, Kilmurry House, Kilworth, Co. Cork, until circa 1930.
Special Notice

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

The white marble banqueting-table centrepiece is inlaid in trompe l'oiel marble with black and terracotta scagliola mosaics in the Etruscan Grecian fashion promoted by the antiquary baron d'Hancarville's, Catalogue of Etruscan, Greek and Roman Antiquities, 1766-7 and by publications of Roman ceiling decoration such as P. S. Bartoli, Recueil de Peintures Antiques, Paris, 1783. Its ribbon-banded border features poetic laurels and pearl-strings, and tablets of wine-krater vases, which alternate with figurative tablets and medallions supported by festive vine-wreathed Bacchic leopards. The latter tablets feature reclining figures of Ceres and Neptune personifying the Elements of Earth and Water, and they are accompanied by medallions of figures proffering garlands or making sacrifices at an altar. Such centrepieces would harmonise with the fashion for Etruscan-decorated chimneypieces popularised in Ireland by architects such as James Wyatt (d.1813) and manufactured by the scagliola-inlayer Domenico Bartoli,who was working for Wyatt in the mid 1790s (D. Cameron, 'Scagliola inlay work: the problems of attribution', Irish Architectural and Decorative Studies, vol. VII, 2004, pp. 140-155). The centrepiece has been adapted to form an early 19th century Grecian sofa-table with its 'brass' railed top supported on 'Apollo' lyre pilasters, whose palm-flowered plinths are raised on bronze-like Bacchic lion-paws.

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