A highly refined George III pole screen, the stand executed in solid satinwood, with a shield-shaped adjustable screen retaining its original silkwork panel. The panel is finely worked in silk on silk with a floral bouquet, trailing garlands and a flowing blue ribbon, still preserving areas of remarkably vibrant original colouration.
England, circa 1780 | Thomas Sheraton period
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Width of screen
Pole screens were designed for the elegant late 18th century drawing room, positioned before the fire to shield the sitter’s face from the direct heat while allowing warmth to circulate. Here, the choice of shield form is especially poetic. Beyond its practical purpose, the shape consciously references the classical shields of antiquity — evoking ideas of protection, nobility and refinement deeply embedded within the neoclassical imagination of the late Georgian period. The form is therefore both symbolic and functional: a domestic interpretation of the ceremonial shield, perfectly suited to defend its occupant from the fierce heat and glare of the fire.
The silk backing has naturally deteriorated over the course of some 250 years, as one would expect with such delicate materials exposed to light and atmosphere. Nevertheless, the embroidery survives in remarkably fine condition, retaining subtle detail and areas of unusually fresh colour. The panel has been carefully preserved behind glass, allowing both its fragility and extraordinary workmanship to remain visible.
The embroidery itself is exceptionally refined. The floral arrangement reflects the late 18th century fascination with the language of flowers and the cultivated beauty of the natural world. Roses traditionally symbolise love and beauty; carnations admiration and affection; smaller blue blossoms evoke remembrance and fidelity. Encircling garlands suggest continuity and abundance, whilst the flowing pale blue ribbon introduces movement and grace, binding the composition together in a manner reminiscent of contemporary botanical illustration and French silk design.
The use of satinwood is equally significant. Satinwood was among the most luxurious and fashionable cabinet woods of the George III period, celebrated for its luminous golden colour and shimmering grain. Because of its expense, most satinwood furniture was veneered onto secondary timbers; examples fashioned in solid satinwood are considerably rarer and demonstrate a level of cost and craftsmanship reserved for the finest pieces. The elegant proportions, attenuated form and restrained ornament strongly reflect the influence of Thomas Sheraton and the sophisticated neoclassical taste of the 1780s.
Comparable embroidered pole screens survive in important institutional and country house collections, where they illustrate the central role of female needlework, botanical decoration and refined craftsmanship within Georgian interiors. See Fenton House Collection, National Trust
A particularly elegant and evocative survival from the golden age of English neoclassicism.
