Jeckyll & Co has dated this Aesthetic Movement Centre Table to the 19th Century.
Here the incised decoration is not highlighted in gilt; the colour is a red/brown rather than the more typical ebonised finish, and the incised detailing of the Greek motifs is not as refined or elaborate as, for example, the London made Aegytian chair, (executed by Cottier & Co. to a design possibly by John Moyr Smith) or the ebonised Davenport desk with @fineartssociety.
Extrapolating on the supposition that the table may have been made in New York, some of the differences between this and his London output may be explained. Cottier travelled to New York in 1873, opening up a showroom on 5th Avenue in the same year. Unlike the ceramics and glass, the furniture was made in New York, presumably training a new workforce from a near standing start. This might account for the relative simplicity in the execution of this early design.
In terms of physical supporting evidence relating to a possible New York connection, the depository label on the underside of the table is interesting. The Liverpool to New York transatlantic crossing was, at least until the end of the Edwardian era, the most popular shipping route to the UK, and Bronte Street is only a mile from the Albert docks, at the time well served by a direct railway link.
Principal secondary sources 'Daniel Cottier-Designer-Decorator-Dealer' Petra Chu & Max Donnelly
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Jeckyll & Co has dated this Aesthetic Movement Centre Table to the 19th Century.
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In the Manner of Daniel Cottier (1838-1891) an Art Furniture Stained Birch Centre Table with Cast Solid Brass Sabots, 1870s, Cottier & Co. London or Possibly New York
