Marble Furniture

The Cerri Nestore table lamp is an Italian design piece, usually from the 1970s, renowned for its modern style and the use of quality materials such as travertine, marble, and someti...

A simple yet elegant green marble pedestal table from Italy circa 1980's. It features beautiful veining of solid slab marble construction. ...

A very fine antique French Louis-Philippe figured burl walnut & marble top commode, chest of drawers, circa 1840. The commode is in excellent condition, it is made from the finest vi...

This late eighteenth century French Louis XVI period black painted console table features a white marble top surrounded by a pierced bronze gallery. A long single drawer of dovetail ...

Mid-Century Modern Venise Showcase, Hand-Crafted in Portugal - Europe by Greenapple The Venise Showcase enhances any interior by taking exceptional craftsmanship to a new level. Th...

TRAVERTINE CONSOLE TABLE WITH C-SHAPED LEGS Type of Marble: Travertine Dimensions: 48" x 16" x 29,5" Leg Model: Travertine Customizable: Available! Production Time: 3-4 Weeks Shippi...

Very elegant and refined Italian 1950s Art Deco Mid-Century Modern pair of night stands bed side tables with greatly decorated wooden structure, one drawer and curved white marble to...

George Trollope and Sons. Exhibited at the Paris Universal Exhibition in 1878 winning a Gold Medal for Excellence. The set forms the four sides of a complete panelled room that was exhibited as a boudoir room or petit salon at the Paris Exhibition 1878 . The main feature and centrepiece of this boudoir room is the Rosso Antico marble fireplace surmounted by an open display niche carved in cedar wood. Each side of the room is composed of various panels and are as follows: One side with a grand Rosso Antico marble fireplace flanked by two doorways. One side with French doors originally opening onto a balcony, flanked by two large bookshelves. One side with a window flanked by two mirrors. The opposite side with three large mirrors. The complete room measures: 21 ft / 6.4 m wide, 17 ft / 5.18 m deep, and 12 ft / 3.65 m high. It could also be used in a number of different combinations to suit various room layouts. The mirrors could be replaced with windows or further bookcases. Each side is decorated with various sizes of finely carved panels and holds ornate Corinthian style columns surmounted with cherubim's on the capitals. Three cherubs are formed at the top of each corner with three columns, at the column bases there are circular carved pedestals to display statues. Published & illustrated in the ‘Illustrated Catalogue of the Paris International Exhibition’. The main part of this room, the Rosso Antico marble fireplace is surmounted by a large open display niche carved in cedar wood are illustrated with a line drawing in the Paris Universal Exhibition catalogue on page 209. The whereabouts of the seminaked caryatids and the marble bust of Alexander Pope are unknown. The bust of Alexander Pope was copied from the original one in Westminster Abbey, London. The Corinthian columns now flanking the niche above the fireplace are also in cedar wood having the identical carved fluting to the rest of the room and were made to replace the caryatid figures. Those Corinthian columns are period to the room and can only have been made shortly after it arrived back to London and before it was reassembled and fitted into the house built by George Trollope and Sons in the 1880's, and where we removed it all from. George Trollope made clever use of Alexander Pope's early 18th-century poetical successes in Great Britain and France by using ‘The Rape of Lock’, a mock-heroic narrative poem Pope wrote in 1712 about Petre who cut off a lock of Arabella’s hair without her permission, as the theme of the boudoir room or petit salon at the 1878 Paris Exhibition. In the original exhibition display of the room set, tapestries depicting the Rape of Lock were hung where the mirrors are now positioned. Alexander Pope's The Rape of the Lock is a humorous indictment of the vanities and idleness of 18th-century high society. Basing his poem on an actual incident among two families of his acquaintance, Pope intended his verses to quench hot tempers and to encourage his friends to laugh at their own foolishness. The poem is an outstanding example in the English language of the genre of mock-epic. The 'epic' was considered one of the most serious of literary forms; it had been applied, in the classical period, to the trivialities of love and war. Pope’s mock-epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in The Rape of the Lock underlines the ridiculousness of a society in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The 18th-century society in this poem fails to distinguish between things that are important and things that are not. The poem mocks the men it portrays by representing them as unworthy of a heroic culture. Therefore the mock-epic follows the epic in that its main concerns are serious and moral. The point that the theme must now be satirical rather than earnest is symptomatic of how far the culture has fallen. Retaining the original exhibition label The back of the panelling still retains two original labels printed with the 'Union Jack' and printed adjacent to it, 'The Secretary Royal British Commission for the Universal Exhibition 1878 Champ de Mars Paris'. Adjacent to that and below, printed and written in ink vertically: Exhibitor: (and signed in ink) George Trollope & Sons. Address: (written in ink) Halkin Street West. London. Allotment in Block: (written in ink) a2. In the printed floor plan 'a2 square' is in the very first line to the right of the floor plan and handwritten in ink with a 'diamond shape' also written with '101' within it. This pin points where George Trollope's stand was located. With thousands of items being displayed at the Exhibition, this label would have been the floor plan for the craftsmen, so they knew the correct place to install the boudoir room or petit salon. The firm continued expanding house building and interior decoration side of the business and by 1849 was also trading as an estate agency, letting and controlling property for the Grosvenor Estates. A separate branch of cabinet-makers, bearing the family name, was opened at West Halkin Street, London. becoming known as 'The Museum of Decorative Arts' (looked after by George Robinson). Here Trollope and Sons also sold high-class antique furniture made by other makers. In 1851, the firm became formally known as George Trollope and Sons. West Halkin Street, London. The address was recorded in the listing for the firm in The Furniture Gazette Directory, 1876 & 1877. Period Press Coverage & Art Critic Review. everal newspapers also thoroughly describe George Trollope and Son's stand including the different tapestries that were hung where the mirrors are now, illustrating the poem 'The Rape of Lock', by Alexander Pope. Marius Vachon, a French Art Critic and journalist, who wrote for the journal ‘La France’ published an extensive review of the Trollope and Sons stand in a book called Les Merveilles de l'Exposition de 1878 (The Wonders of the 1878 Exhibition). Note: In the World Fairs translation it states door frame, Marius Vachon had originally written ‘chambranle’ in French, 'chambranle' loosely translates to a frame around something, and should read in its correct context: ‘fireplace in rosso antico’. We have taken the extract below written by Marius Vachon in its translated form from: Les Merveilles de l'Exposition de 1878, (The Wonders of the 1878 Exhibition). This puts into perspective the importance of this fine quality room interior when he viewed it at the exhibition in 1878: Marius Vachon: English furniture is very curious to observe; irreproachable from the point of view of execution, the furniture of our neighbours always reaches the last degree of respectability and comfort. One thing to be noticed is that for large pieces of furniture, the English upholsterer is transformed into a sort of architect; everything he makes takes on a monumental aspect. The first object that catches the eye when one enters the furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. The boudoir (or petit salon), of carved cedar wood, is an attempt to reproduce the style which prevailed in England during the first decade of Queen Anne's reign, and all the details have been studied, but not copied, from examples of decorative work of the time. The fireplace is in "rosso antico" movement, and the ceiling is in portable plaster. The panels painted on canvas represent scenes from the heroic-comic poem "The Abduction of the Hairpin," (The Rape of Lock) written by Alexander Pope in 1712, the eighth year of Queen Anne's reign, in which the customs and mores of the time are satirized in a pleasing manner. The apotheosis of the Loop and its sidereal transformations will form the decoration of the ceiling. In these illustrations of Pope's charming poem, the costumes and accessories have been taken from models of the time; and the bust of the poet, copied from his tomb in Westminster Abbey, occupies the niche in the centre of the mantelpiece. M. Marius Vachon, the period writer of the above continues with: Now we shall mention at random the magnificent dining table of Messrs. Johnston and Co., their oak mantelpiece, their boudoir table; Mr. Watt's drawing-room mantelpiece stepped in the old style and imitating the Japanese; Mr. James Shoolbred's great The Decorative Arts Society on Trollope and Sons The boudoir or petit salon is mentioned again in the Decorative Arts Society: Trollope did not exhibit such highly rated objects at the 1878 Paris Exhibition as at previous exhibitions; items included a large mirror frame carved in limewood in Renaissance style and a satinwood cabinet in Adam revival style, with a similar armchair (illus. Meyer (2006), p. 242) and probably two rooms; one was a boudoir in cedar wood in Queen Anne style and the other was a boudoir decorated by the firm in the theme of Pope’s The Rape of Lock. In the above extract, it is quite clear that the two rooms mentioned are in fact the very same room, because the fireplace and niche are illustrated in The Paris Universal Exhibition catalogue on page 209 and Marius Vachon describes the rest of the room set in the above… Trollope and Sons exhibition pieces listed and described by Meyer in an article he wrote for: The Decorative Arts Society 1850 to present, Journal 25 in 2001., where he points out the importance of George Trollope and Sons and mentions a table by Trollope exhibited at the 1867 exhibition that sold for £40,000 in 1996. He also mentions a cabinet exhibited by Trollope at the International Exhibition of 1862 that sold at Sotheby's in 1997 for £150,000. Interest was not as strong in the 1990's as it is today for rare exhibition pieces, high quality items were abundant back then, it was a golden era when the most beautiful works of art just kept coming onto the market. But there are exceptions as in this instance, when a unique, gold medal-winning exhibition work of art comes onto the market for the very first time. Meyer continued researching and writing about the great exhibitions and released his book in 2006, 'The Great Exhibitions, London, New York, Paris and Philadelphia 1851- 1900, where he mentions only in passing, The Boudoir Room or Petite Salon exhibited by Trollope, he even states that an image was not reproduced and that Trollope's exhibits in 1878 were not up to the quality and class of the items Trollope exhibited in London in 1862 and Paris in 1868. This is probably because Meyer didn't know of the line drawing illustrating the Roso Antico Fireplace, Niche and Panelling reproduced in The Illustrated Catalogue of the Paris International Exhibition 1878 shown in the above which Geering recently uncovered. John Meyer continues in the DAS journal: Undoubtedly they (Trollope) are a firm worthy of further research as they were right at the forefront of the furniture business in London from 1860 to 1880. Our research shows that the Petite Boudoir was awarded the gold medal for excellence in 1878 (see Journal La Liberté 23-10-1878 with the list of all medals attributed), something George Trollope and Sons did not achieve at the London 1862 and the Paris 1867 exhibitions. Jonathan Meyer joined Bonham's in 1977. He was Director at Sotheby's in charge of 19th Century Furniture from 1994 to June 2007. He was also chairman of the Fine Arts Faculty for The Royal Institute of Chartered Surveyors. In the original description from the article in Les Merveilles de l’exposition de 1878, M. Marius Vachon states: The first object that catches the eye when one enters the (English) furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. Suggesting, it was in his opinion the very best on display in the English section, and being awarded the gold medal for excellence can only add weight to this. Adjacent to the original label that was printed by The Secretary - Royal British Commission for the Universal Exhibition 1878 in stencil ‘TO BE KEPT’, i.e. ‘to be returned’. This confirms why it came back to London. We removed the Boudoir Room or Petite Salon from a Trollope house, part of a grand high-class housing estate in London which around the time of the exhibition Trollope and Sons were in the process of building, and where the room set was installed directly after it returned from the exhibition in 1878 until now. Worthy of note is the machines that did the carving for the Boudoir Room or Petite Salon and also did all of the decorative carving (most of which was linenfold carving) for the Houses of Parliament, London. This machine, the engraving and description of which we copy from Engineering, was specially designed by its inventor, Mr. Jordan, for assisting in the production of the vast amount of carved decorations required for the walls and ceilings of the Houses of Parliament, London, and it was so employed during the entire progress of the work. The late Sir Charles Barry was so well satisfied with it, that he frequently declared it would have been impossible to have accomplished the work without it. The Department of Woods and Forests employed five of the machines at the Government Works, Thames Bank, for several years; and the machines have now passed into the hands of Messrs. George Trollope and Son, and are still used in the same building. They also exhibited the new technique of xylatechnography and sgraffito, methods of impressing coloured design into soft wood and engraving veneer to reveal the base wood. The newspaper, La Liberte October, 23rd 1878 listing the medal winners of the Paris 1878 exhibition. Third column, ''GROUPE III MOBILIER ET ACCESSOIRES'', (GROUP III FURNITURE AND ACCESSORIES). Medailles d'or. (Gold Medals) where G Trollope et fils (G Trollope and Sons...

Pair of 19th-Century Grand Tour Hand-Carved Marble Sphinx Sculptures on Plinth Bases Description: A finely carved and substantial pair of Grand Tour-era marble sphinx sculptures, ea...

Four Seasons Italian Carrara marble statues. Classically draped female figures in their distinguishing symbols. Autumn, winter, spring and summer. True Italian high quality carving f...

Beautifully polished Portoro marble vase circa 1970s ovid form with a short flaring neck and striking variegated marble in black/brown, mocha, cre...

A rare, early 17th‑century French surround in Stone de Nolay. This striking Louis XIII period (early 1600s) fireplace surround is carved from Stone de Nolay, a distinguished Burgundi...

An alluring French brasserie table, from the late 19th century with a removable white marble top on a cast iron frame of exotic ornamentation. This classic French bistro table has th...

A large and grand 19th Century Scottish Victorian arched spandrel fireplace surround in well figured Carrara marble. A generous top shelf with an edged profile sits gracefully abov...

A glorious 20th century vintage reproduction Louis XVI-style commode from France, true to the spirit of an antique original with a marble top on a mahogany & beech wood case of three...

Beautiful Baroque marble holy water font or stoup, Unique and original period piece. Italy, circa 1750 H:12cm W:24,5cm D:18-33cm

Delicate hues and geometric volumes define this coffee table's refined sculptural aesthetic, suggesting it as an ideal addition to contemporary professional or residential spaces. Av...

Vintage Rosso Levanto marble cubist side table.

An oval, vintage Mid-Century modern American dining room table made of hand crafted Carrara marble designed by Eero Saarinen for Knoll, in good condition. The top of the detailed con...

Pair of 1940s French ebonized Directoire style end tables composed of black lacquered wood, white marble top, and brass hardware and sabots.

French vintage midcentury oak and marble counter from a bar, pub, or similar establishment that offers plenty of storage space for the modern interior. The top of the piece is divide...

This early twentieth century pitch pine vanity features a beveled white marble top with an upper shelf. Its two drawers with metal drawer pulls are of dovetail construction. Below th...

Sculptural Carrara Marble Icon by Gae Aulenti for Knoll, Italy, 1960s Designed by Gae Aulenti in 1965 for Knoll International, the “Jumbo” coffee table is a bold statement of Italia...

A French Louis XVI style mahogany side table from the 19th century with a white marble top surrounded by a pierced brass gallery and elevated by fluted legs. This timeless table desi...

French 19th century faux bamboo carved pine vanity, offering daily inspiration in the organic forms and artistic ingenuity during the Aesthetic Movement of the late 1800s. Functionin...

Life-size pair of green and red onyx turned polished vases, the rolling rims above slender baluster form terminating in circular bases. The onyx vases are carved from single blocks o...

Striking and elegant, the Rectangle Bubble Vase has a unique silhouette that brings a modern and playful feel to any space. Styled in built-ins or filled with florals, this vase is a...

The Cards nightstand features a sculptural design inspired by a house of cards, combining functionality with expressive form. Its structure presents rounded edges and intersecting pl...

French antique semainier in the Louis XVI style. This piece is made of solid wood construction, primarily mahogany that has been fully ebonized and finished with a lustrous French po...

TRAVERTINE MARBLE DINING TABLE Type of Marble: Travertine Dimensions: 72" x 36" Leg Model: Travertine Customizable: Available! Production Time: 3-4 Weeks Shipping Cost: Free! Packa...

Antique brass and marble washbasin from circa 1880. High quality brass and marble washbasin with compact proportions. Just right for a smaller bathroom or sink. Solid and strong. Has...

Italian Hadrian Roman Breccia and mixed marble bust with lapis lazuli brooch.

A Louis XVI style, marble-topped commode from France (late 19th century) in bold, ebonized finish that could suit a wide range of decorating tastes today. The St. Anne marble surface...

Pair Antique French Louis XV Marquetry marble top nightstands offer a lot of style in diminutive packages! The subtle contours and scroll forms are evident in the cornerposts and leg...

Pair of beautiful 1920s giltwood Rococo style marble top two door cabinets made from 19th Century Coromandel panels

This is a beautifully sculpted composite marble bust of Marie Antoinette, late 20th century in date. This attractive sculpture features the Queen of France facing to dexter, wearing...

This elegant Louis XVI style sauteuse chest of drawers was crafted in France circa 1920 and showcases refined neoclassical details in both structure and ornament. Constructed in soli...

TRAVERTINE MARBLE DINING TABLE Type of Marble: Travertine Dimensions: 94" x 47" Leg Model: Travertine Customizable: Available! Production Time: 3-4 Weeks Shipping Cost: Free! Packag...

A finely crafted circular pietra dura plaque, likely originating from Italy during the mid-to-late 19th century, this specimen marble and hardstone inlaid chessboard combines decorat...

Mid-Century Modern Table Lamp – Bamboo and Linen, Circa 1950 Illuminate your space with the timeless elegance of this mid-century modern table lamp, crafted circa 1950. Featuring a ...

An antique Victorian Eastlake marble top coffee table. Features a rectangular form made from walnut with burled panels and carved accents. The ta...

Red Spanish Rojo Alicante marble cocktail table featuring large bevelled edges.

Dining Table in Black Marquinia marble Size: ⌀ 120 x 74,5 cm. - 47.2 x 29.3 in. Commercial name: Nissa Dining Table in Black Marquinia, Nissa Collection by the Spanish designer Iva...

A gorgeous Louis XVI style, marble-topped walnut commode from France (late 19th century) with transitional details that could suit a wide range of decorating tastes today. The dark s...

Rare unopened original boxed cash registers. 2 Available. The Class 313 Total Adding Cash Register was the most popular model of the Class 300 series of cash registers. It was manu...

Composed of black marble and travertine, this side table contrasts deep darkness with warm neutrality through its varicolored stone segments. The object is balanced by a subtle simpl...

Set of 2 French Louis XV Night Stands, marble top, 1930s Good condition, small signs of aging. Found in a noble apartment in my city, Palermo.

Vintage inlaid semi-precious gemstone tabletop terrestrial globe on a brass stand. A labor-intensive, beautiful work with hand-cut and inlaid stones including Tiger's Eye, Jasper, M...

Black Marble Bird Giulio Lazzotti Mageia Pietrasanta Italy, 1990 Stunning bird of minimalist design High quality of Manufacture Perfect condiction ...

This mid nineteenth century French Napoleon III period faux bamboo gilt wood side table features an octagonal white marble top. A bamboo lattice pattern details the apron. The four l...

An extraordinary 19th century French mahogany and marble buffet, Louis XVI in style, to take pride of place nearly anywhere in the home. The slab of Saint Anne marble exhibits the si...

An original French brasserie table, circa 1890, with a removable white marble top on a cast iron frame. The stone top has flat edges and a smooth, although patinated surface clouded ...

A refined mid-century French coffee table by Maison Baguès, crafted circa 1950–60 in the design-forward spirit of the era. The table features a rectangular white marble top with deli...

Vintage French Marble and Brass Cocktail Table Maison Jansen Style from the 70s Elegant Coffee Table Style - the Marble Table Top comes with natural patterns in a beautiful mix of de...

A columnar, French mahogany and marble top bedside table that offers both storage and display to fit in any room around the home. The top surface is an expressive piece of St. Anne m...

Mid-Century Modern Venise Dining Table, Hand-Crafted in Portugal - Europe by Greenapple The Venise dining table enhances any interior by taking exceptional craftsmanship to a new le...

French Art Deco bookends by Louis-Albert Carvin, France, 1910s. German shepherds. Gilt spelter dogs. Marble bases. Measures: Height 7.5"(19cm), width 6"(15.3cm), depth 4.4" to 5.1"(1...

Unique and antique bronze and hard stone(base) sculpture of our Lord Jesus by Franz Seifert, Wien. This breathtaking religious bronze bust sculpture by Austrian master Franz Seifert...

Olival Sideboard, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Olival marble TV cabinet draws inspiration from the sacred symbolism of the ancient Gr...

1930s French Art Deco bronze figural sculpture on a black marble base, signed by Alexandre Ouline.