A George II carved giltwood and marble mounted console table, circa 1750, in the manner of William Kent, the rectangular marble top, above a acanthus carved frieze, above central twin flower motif flanked by scrolling acanthus, on hipped s-scroll legs, jointed by conforming stretchers and on carved lion paw feet, 85cm high, the top 140cm wide, 94cm deep Provenance: A private European collection Following architectural style, furniture design underwent a revolution in the 1720s in response to the 3rd Earl of Burlington's campaign to establish a new style based upon strict observance of the classical architectural rules and example of Andrea Palladio. Furniture design for the Palladian interior presented a particular problem as no precedent existed. The solution adopted by designers, in particular Burlington's protégé William Kent (1685-1748), was to adapt and apply classical architectural features to established furniture types. Kent was "the first English architect to take a serious interest in furniture and like Robert Adam later in the century he sought to establish a harmonious relationship between the architecture of a room and its furniture". However, other architects such as William Jones, Batty Langley and Robert Morris published furniture designs in Kent's Palladian style. Kent rose from a humble background to become one of the most influential designers of the early 18th century. His relationship with Lord Burlington brought significant aristocratic and royal patronage and his influence on many of the country's greatest houses, their interiors and gardens is immense. It is however, in his capacity as interior designer that he was most successful. His schemes and designs for furniture can be seen at Chiswick House, Kew Palace, Raynham Hall, Holkham Hall and Hampton Court. For designs of related tables, see Elizabeth White, Pictorial Dictionary of British 18th century Furniture Design, Antique Collectors Club, 1990. The designs for pier tables by William Jones for The Gentleman or Builders Companion of 1739, (page 262) bear similarities to the current table being offered in terms of overall design and in particular the use of carved lion paw feet. Further designs by William Jones and Batty Langley (see page 263) demonstrate designs of frieze that bear closer relation to the current table.