The various elements of this serpentine-fronted pier-table, with its acanthus-scrolled frame inhabited by birds and embellished with a flower-festooned 'poetic' or 'pastoral' trophy in the Louis XV 'picturesque' style, can all be found in the carver's pattern book entitled Six Tables, 1746, published by Matthias Lock (d.1765). Its evolution can be traced through a pattern for a plinth-supported 'Marble Table' with addorsed 'C' scroll 'console' legs and central emblematical cartouche published by Batty Langley in his, City and Country Builder's and Workman's Treasury of Designs, 1740, pl.CXLV; and was adapted from a console design by the French sculptor Nicolas Pineau (d.1754), one of the creators of the genre pittoreque style and published in Mariette's L'Architecture Francaise, (1727-38). Lock quoted from Langley's pattern in his Six Tables, but abolished its plinth and increased its assymetrical elements. The serpentined brackets supporting this pier-table's central cartouche and its flower garlands feature in Plate 6, while its central cartouche frame, a bird perched on an assymetrical stretcher cartouche and a trophy of musical instruments all feature in Plate 2. This trophy of an opened book of music laid across a lute and flutes, would have derived from French engravings such as those published by G. Huquier in his, Nouveau Livre de Different Trophées Inventez par A. Watteau, c. 1735.

Matthias Lock (d.1765), carver of Long Acre, was the author of various furniture pattern books and was recognized by his contemporaries as the most gifted designer of furniture in the French Louis XV manner. This table's ornament also relates to elements found in his workshop drawings of the 1740s, now preserved at the Victoria & Albert Museum, while the quality of its carving corresponds with that of a pair of console tables from Buxted Park, Sussex, which ar now at the Bowes Museum, Yorkshire and attributed to Locks' workshops.

Illustrated, 'Furniture for the Bowes Museum', Burlington Museum, June 1966, fig.52.