AN EARLY GEORGE III MAHOGANY TRIPOD TABLE
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AN EARLY GEORGE III MAHOGANY TRIPOD TABLE

Details
AN EARLY GEORGE III MAHOGANY TRIPOD TABLE
The canted square tilt-top with pierced arcaded fret gallery with ebony half moulding and moulded edge, above a spirally-turned columnar shaft with acanthus-wrapped baluster bulb on a pounced ground, on cabriole legs headed by acanthus ribbons and with ogee tapering panels to the sides, on pointed pad feet with anti-friction brass and leather castors, restorations to the gallery with one long section 16 in. (40.5 cm.) replaced, the top with repaired shrinkage split
29 in. (74 cm.) high; 28.5 in. (72 cm.) square
Provenance
Bought from Norman Adams, circa 1964.
Sold back to Norman Adams, circa 1977.
Reacquired from Norman Adams, 4 February 1982.
Literature
C. Claxton Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, Woodbridge, rev. ed., 1985, p. 304 ('... the table is particularly well figured with a deep natural shine.')
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

Lot Essay

The interlaced ribbon cartouche on the legs of the chairs formerly in the collection of Viscount Leverhulme, illustrated here, is a simpler variation of a pattern used apparently exclusively by Giles Grendey (1693-1780), one of the most successful London cabinet and chair-makers of his day. The benchmark set of chairs is one sold from Gunton Park, Norfolk in 1980 (C. Gilbert, Pictorial Dictionary of Market London Furniture, Leeds, 1996, figs. 437-8). The Gunton Park set is labelled by Grendey, so confirms his authorship and allows the attribution of other sets with that leg. However, the cartouche is definitely simplified on this table and it seems equally likely that it is an interpretation of Grendey's pattern by a competitor.

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