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A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES
A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES
A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES
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A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES
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Specified lots (sold and unsold) marked with a fil… Read more A REUNITED PAIR OF GEORGE III CONSOLE TABLES
A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES

CIRCA 1760, AFTER A DESIGN ATTRIBUTED TO THOMAS CHIPPENDALE

Details
A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES
CIRCA 1760, AFTER A DESIGN ATTRIBUTED TO THOMAS CHIPPENDALE
One table with a Siena marble top, the other with a grey-veined white marble top, each of D-end shape above an egg-and-dart cornice and narrow fluted frieze, on six acanthus volute-headed scrolled legs headed by flowerheads, each panelled lower leg carved with entrelac to the front and imbricated to the sides, on block-feet, the freize centred by a foliate-clasped scallop shell, with hanging foliate garlands, restorations and replacements, differences in construction, re-gilt; together with a further grey-veined marble top
Each 33 in. (84 cm.) high; 62 in. (157.5 cm.) wide; 28 in. (71 cm.) deep
Provenance
One table: Acquired from Edward Hurst, April 2009.
One table: Property of a Lady; sold Sotheby's, London, 18 November 2009, lot 3.
Literature
R. Guilding, ‘Jasper Wares’, World of Interiors, April 2021, illustrated p. 155.
Special Notice

Specified lots (sold and unsold) marked with a filled square not collected from Christie’s, 8 King Street, London SW1Y 6QT by 5.00pm on the day of the sale will, at our option, be removed to Crozier Park Royal (details below). Christie’s will inform you if the lot has been sent offsite. If the lot is transferred to Crozier Park Royal, it will be available for collection on the third business day after the sale. Please call Christie’s Client Service 24 hours in advance to book a collection time at Crozier Park Royal. All collections from Crozier Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s, 8 King Street, it will be available for collection on any working day (not weekends) from 9.00am to 5.00pm

Brought to you by

Benedict Winter
Benedict Winter Specialist, Private Collections

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Lot Essay

These console tables are almost certainly modelled on a design held in the Prints & Drawings department at the Victoria & Albert Museum, London (D.831-1906). Although the maker of this design is catalogued as ‘Unknown’ in the descriptive text, it is recorded as ‘by Thomas Chippendale’ (1718-79). The design illustrates Chippendale’s free-flowing artistic style and his use of wash, and while the handwriting is not Chippendale’s as it appears on the Director drawings, the design may well have been inscribed by his workshop. The attribution of the design to Chippendale can now be reinforced by comparing it to another Chippendale design for a pier table in the collection of the Chippendale Society; both designs feature narrow fluting on the frieze and related scrolled legs joined by foliate swags centred by, in the V&A example (and on these tables), a scallop shell, and in the comparable design, a ram’s mask. The Chippendale Society’s design forms part of a portfolio acquired in 2020, which is partially discussed by Adam Bowett in ‘Three drawings by Thomas Chippendale junior’, The Burlington Magazine, August 2020, pp. 674-675. These two Chippendale-attributed designs, and thus the present tables, also relate to two designs for pier tables in an album entitled Original Designs by Matts Lock, Carver 1740-1765 (Prints & Drawings, 2848:101, 2848:120); this album was compiled after Matthias Lock's death in 1765 and includes ephemera from his workshop, designs by Chippendale, and neo-classical designs associated with a later Matthias Lock, probably his son.

A further anonymous design, also at the V&A, is also very close, illustrated in P. Ward-Jackson, English Furniture Designs of the Eighteenth Century, London, 1984, plate 35, although this may be a rendition of a table by William Kent (1685-1748) from the Painted Parlour at Rousham House, Oxfordshire, because of its resemblance (S. Weber, William Kent: Designing Georgian Britain, New Haven and London, 2013, fig. 18.51).

The band of small guilloche moulding found on the legs of the Conran tables is a very common Chippendale motif, seen on the magnificent marquetry library table, made circa 1771 for Harewood House, Yorkshire, on a set of eight, originally japanned, hall chairs, c. 1775, from Nostell Priory Yorkshire, and on a suite of seat-furniture for the salon at Brocket Hall – all Chippendale commissions (C. Gilbert, The Life & Works of Thomas Chippendale, London, 1978, vols. I & II, fig. 442 and 446, pp. 201-2, 215; fig. 157, pp. 172-173; fig. 186, p. 263). While the present tables probably date to the 1760s, the inclusion of the same guilloche moulding was evidently continued by Chippendale junior (1749-1823) featuring on one of three giltwood mirrors made for the saloon at Burton Constable, Yorkshire, in 1778 and on the seat-backs of a set of giltwood chairs at Petworth, West Sussex, c. 1785 (J. Goodison, The Life and Work of Thomas Chippendale junior, London and New York, 2017, fig. 350, pp. 38, 49, 156; fig. 108, p. 178).

The linked circle motif on the frame appears on a pair of commodes attributed to Chippendale senior, c. 1765-70, now in the Lady Lever Art Gallery, Port Sunlight (Gilbert, op. cit., fig. 229, p. 291) and on a pair of white-painted and parcel gilt corner tables by Chippendale junior made for the Music Room at Stourhead, Wiltshire (Goodison, op. cit., fig. 233, p. 220).

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