33 1/2 x 42 x 16 1/2 in.

Note: These consoles are similar to a design by Thomas Sheraton: 'As pier tables are merely for ornament under a glass, they are generally made very light and the style of finishing them is rich and elegant. Sometimes the tops are solid marble, but most commonly veneered in rich satin, or other valuable wood, with a cross-band on the outside, a border about two inches richly japanned, and a narrow cross-band beyond it to go all round...stretching-rails have of late been introduced to these tables, and it must be owned that it is with good effect...as they take off the long appearance of the legs...' (see Sheraton, Thomas, 'The Cabinet-Maker and Upholsterer's Drawing Book', published 1794, Appendix, 'Pier Tables', pages 8 and 9, Plate IV). Sheraton (1751-1806) moved to London around 1790 where he lived for a while at No 41 Davies Street and worked in Wardour Street. His books, published for subscribers in 42 bi-weekly instalments over the years between 1791 and 1794, were extremely influential in shaping the style for Neo-Classical furniture of the time. As a teacher of drawing and architecture he stressed the importance of perspective. He later was ordained as a Baptist minister and left only one known signed piece of furniture, dying in poverty.

The above offered lot has similar painted tops to a pair of George III Polychrome Painted Satinwood Card Tables, sold Christie's, London, April 9, 2003, Lot 80 which sold for GPB33,460 and are in the manner of Seddon, Sons and Shackleton. The pair of card tables and the offer lot shares much in common with the documented work of Seddon, Sons and Shackleton. See C. Gilbert, Seddon, Sons & Shackleton, Furniture History, 1997, pp. 1-29, figs. 3 and 5-6.

Literature: Fastnedge, Ralph, 'Sheraton Furniture', Antique Collectors' Club, Baron Publishing, 1983, cover photograph; Synge, Lanto, 'Mallet's Great English Furniture', Bulfinch Press, Little, Brown and Co., 1991, pp. 150-151, pl. 170.