Conceived in the George II 'antique' manner, its hollowed cornice enriched with Roman acanthus and flutes formed by arched and interlinked ribbon-guilloche festooned with husks, this monumental sideboard table displays a Bacchic lion-mask cartouche with acanthus-wrapped volutes and Venus-shell badge, while satyr-masks emerge from acanthus-enriched cartouches which terminate in Jove's eagle-claws. One such marble-slabbed table, embellished with acanthus and serpentined and rounded legs enriched with satyr-masks and paw or claw feet, featured in a 'pier-table' pattern published by the architect William Jones (d.1757) in The Gentleman or Builder's Companion, 1739. It in turn related to patterns for acanthus-wrapped 'table-frames' with satyr-masks and paw feet published in Thomas Langley's The City and Country Builder's and Workman's Treasury of Designs, London, 1745 (pl.CXLVII), which was plagiarised from a French pier-table pattern. Its cornice-enrichment corresponds to a railing pattern that featured amongst Langley's Iron-Works for Panelling & c. (pl.CLXXIX) and also, without husks, in his Guilochis for decorating Looking Glass and Picture Frames etc. (pl.CIV). A related mahogany table, with Bacchic-masked cartouche and satyr-masked legs terminating in Bacchic lion paws, may have formed part of the original funishings of the East India Company's Banqueting Room created in the late 1720s at Craven House, Leadenhall Street under the direction of the Company's Surveyor John James, who formed part of King George I's Board of Works (illustrated in P. Macquoid and R. Edwards, The Dictionary of English Furniture, London, rev.ed., 1954, vol.III, p.314, fig.23).

This monumental sideboard-table may well have been supplied to John Browne, later created 1st Earl of Altamont, for Westport House, Co. Mayo circa 1730. Designed by the celebrated Irish Palladian architect Richard Castle, Westport's principal pedimented façade is supported by vigorously carved satyr-masks of markedly similar vein. The early house, however was subsequently modified by James Wyatt in 1781 and thus little remains of the original interiors, save the Entrance Hall. Reputed to have passed by descent with the Marquesses of Sligo until the early 20th Century, the reference to the château Malet is somewhat vaguer. It would not, however, appear to be a corruption of the celebrated house built for Guillaume Malet by Lutyens at Varengeville, Normandy circa 1897-8.