Research
Of solid mahogany. The original concentric turned circular veined beige marble top rests upon a plain frieze with flared underside from which four acanthus carved ‘S’ shaped corbel supports emerge centered by a carved, lidded detachable vase. The lower part with stepped and molded geometric projections. The whole resting upon four boldly carved leonine feet with probably original brass castors.

This interesting and handsome table combines a mahogany base of inventive design and very high quality with a marble top with the same originality of aesthetic.

The top is most unusual, being composed of a wide border of two deeply molded concentric rings, while the base is organized as a clever, compact arrangement of four S-shaped acanthus-carved corbels supporting an unusual flared segmented understructure below the plain frieze. All rests upon a distinctive tall angular molded plinth centered by a lidded gadrooned carved tazza. The table is raised on four finely carved lion feet.

This fluent, complex composition is redolent of furniture designed by an accomplished architect. The eighteenth century practice of the design of furniture being within the remit of the architect was to carry on in nineteenth century northern Europe with the likes of Karl Friedrich Schinkel in Germany, Nicolai Abildgaard in Denmark, and Anthony Salvin in England.

Given its striking, deeply-grooved top and strong presence of the base, it was likely conceived as an item to be placed in isolation in a grand entrance or lobby.