Russian Malachite and Pietre Dure Plinths

The time-honored decorative techniques of pietre dure and micromosaic are combined in this rare and exceptionally-crafted Grand Tour casket. Serving as a m...

Among the most beautiful examples of hardstone artistry that have ever entered our collection, these important Grand Ducal pietre dure console tables are in a class all their own. Their powerful architectural elegance, impressive size and rarity make them two of the finest hardstone masterpieces ever created and quite possibly the greatest pair of pietre dure tables in existence. With their naturalistically rendered flowers and birds, these tabletop panels showcase the particularly fine quality craftsmanship of the Grand Ducal workshops in Florence during the first quarter of the 17th century. Grand Duke Ferdinando I de Medici, one of the most important personages in the annals of art history, established the Grand Ducal Workshop in 1588. The workshop specialized in the art of pietre dure developed from the ancient art of opus sectile, giving rise to the most luxurious and detailed examples of hardstone artistry ever produced. Its patrons were the Popes and Royals of Europe, and the quality of the objects produced in the workshop is without equal. Typically, because of the high level of workmanship the art form requires, pietre dure plaques were crafted in small sizes. The great majority of known examples of pietre dure are a fraction of the size of our grand tables. The combination of pietre dure and extensive use of other rare decorative hardstones such as lapis lazuli and pietra paesina or “ruin marble” meant that these tabletops were surely produced for a wealthy collector. The tables are further distinguished by their superbly carved bases by Andrea Brustolon, known as the “Michelangelo of wood.” Brustolon was a Venetian wood sculptor known for his exuberant and intricate Baroque furniture. His high Baroque style was influenced by his years studying in Rome, where he was exposed to the sculpture of Gian Lorenzo Bernini. Crafted in the early 18th century, these bases display Brusolon’s unmatched talent for both figural and foliate work, combining cupids, masks and oversized scrolling vines for a grand, ornate effect. Similar furnishings by Brustolon are held in museums worldwide, including the Victoria & Albert Museum, the National Museum of Scotland and the Metropolitan Museum of Art, while the Ca' Rezzonico Museum in Venice features an entire room dedicated to the sculptor. For approximately 150 years, these tables were part of the famed Stoneleigh Abbey collection owned by the Lord Leigh family. This renowned English country estate inspired Jane Austen to write Mansfield Park. Lord Leigh eventually sold the tables at Christie’s London in 1962, and the pair have stayed in the collection of the same Florentine family who purchased them from Christie's until we recently acquired them. Our tables are prominently pictured in the important Saul Levy book Il Mobile Veneziano del Settencento. The pietre dure plaques date circa 1625-1650. The decorative tops likely would have originally been sold with a pair of plain stone columns to display them, and Lord Leigh would have commissioned the custom bases from Brustolon circa 1714 when he added the impressive four-story fifteen-bay Baroque West Wing to Stoneleigh Abbey. A similar single Grand Ducal tabletop is in the United Kingdom’s National Trust Collection, and a smaller tabletop resides in Buckingham Palace. The flower and bird panels in our examples relate to the famous Badminton Cabinet...

Crafted by Jean-Pierre-Alexandre Tahan, the esteemed cabinetmaker to Napoléon III, this jewelry box is a remarkable example of 19th-century European artistry. The box, shaped in doré...

Malachite is one of Russia’s most prestigious stones, and its use in the creation of this rare and opulent inkwell indicates commission and ownership by an individual of considerable status. Wonderful doré bronze accents are the perfect complement to the vivid green stone. Two dipping wells and pen tray make this inkwell as functional as it is beautiful, circa 1890. Dimensions: 18 1/4” wide x 11” deep x 5 1/2” high. The 19th century proved to be the golden age of Russian malachite. The stone became a sign of prestige and a token of wealth so much so that Russian papers of the time wrote: “To afford having a big piece wrought in malachite is synonymous to owning diamonds.” Due to malachite's relatively close proximity, Russian tsars could easily obtain the malachite they needed to decorate their lavish palaces, such as the Winter Palace in St. Petersburg, paneling walls and commissioning beautiful inlaid works of art. Year after year the Russian (Romanov) treasury paid increasingly unreasonable prices to hoard the best malachite, much of which went into Romanov palaces and extravagant objects d’art. The Hermitage Museum possesses a collection of over 200 examples of this “palatial” malachite...

This exceptionally rare circular expanding dining table was designed by Robert Jupe and crafted by the English cabinetmakers Johnstone & Jeanes, successors to Johnstone, Jupe & Co. One of only a handful known from the firm, this table illustrates the Victorian era's quest to combine technical innovation with superb and beautiful craftsmanship. Complete with its original leaves, the table’s circular top is formed from eight separate segments. When the top is rotated, an ingenious swivel mechanism causes the sections to diverge, allowing a set of small or large leaves to be inserted for an adjustable increase in size. The design for the table was patented by Robert Jupe in 1835, who had envisioned “an improved expanding table so constructed that the sections composing its surface may be caused to diverge from a common center and that the spaces caused thereby may be filled up by inserting leaves or filling pieces.” The first of these fascinating tables were created between 1835 and 1840 during his partnership with John Johnstone and their firm of Johnstone, Jupe & Co. in London. Jupe left the company in 1840, after which the firm changed its name due to a new partnership and became Johnstone & Jeanes. The firm would eventually achieve international fame for its remarkable designs, exhibiting a "circular table made on the expanding principle" like this one at the Great Exhibition of 1851. Jupe was not alone in his fascination with combining the technical merits of engineering and mechanics with the more artful pursuit of cabinet making. The first half of the 19th century saw a prolific increase in the popularity of applying new ideas to furniture principles, which allowed furniture to serve many purposes. The resulting “patent” furniture...

This ingenious late Regency card table was designed with both beauty and entertainment in mind. When not in use, its folded D-shaped top sits against the wall providing an elegant si...

Elegant white colour Glass Plinth decorated with brass fixtures. It is an elegant touch in any room to display this beautiful piece of art. Italy, 1980s.

Modern sculpture pedestal featured by quilted blue velvet upholstery and golden metal chain at the base, woven with velvet, a clear reference to the world of fashion. Inspired by ...

Hutton-Clarke Antiques is delighted to present a genuine work of art from the past: an original hand-painted marble pedestal dating back to approximately 1870. This exquisite piece s...

Crinkle plinth by Michael Gittings Studio Edition of 2 Dimensions: D 30 x W 30 x H 70 cm Materials: mirror polished stainless steel Michael Gittings Melbourne based designer M...

Elegant bordeaux colour Glass Plinth decorated with brass fixtures. It is an elegant touch in any room to display this beautiful piece of art. Italy, 1980s.

Elegant turquoise colour glass Plinth decorated with brass fixtures. It is an elegant touch in any room to display this beautiful piece of art. Italy, 1980s.