Lucy Wood has argued that the small group of painted furniture that includes these bonheurs-du-jour was made in the early 19th Century by craftsmen working at the very end of the Sheraton tradition of painted furniture, and not in any way reviving an old style. Her argument hinges on several elements, none of which are individually compelling but collectively putting a strong case in favour of the group being constructed no later than 1820-1830. These bonheurs-du-jour stylistically relate most closely to a commode in the Lady Lever Art Gallery, Port Sunlight (L. Wood, Catalogue of Commodes, London, 1994, no. 36, pp. 276-283). They share the use of West Indian satinwood, increasingly scarce after the early 19th Century, and the very large oval monochrome medallions in a stiff neoclassical style.
Their complex shape, combining the role of dressing-table, china cabinet and galleried lady's bookcase, derives from patterns in Sheraton's Drawing Book of 1802.