Italian Micro Mosaic and Specimen Marble-Top Centre Table

A mid-Victorian walnut and Pietra Dura table, the oval top inlaid in specimen marbles with a roundel of radiating panels centred on a white daisy in on a black ground, all raised on ...

The rectangular black marble and pietra dura top is set above a walnut base naturalistically carved with C-scrolls, lilies and foliage on a central lily support with outswept dolphin feet. At the back are two cabriole legs headed by shells and equally ornate carving. The inlaid decoration comprises a central sunburst within a patchwork border of specimen marbles and fossils including: Madrepore, Petworth, Portoro, Brocatelle, Sicilian Jasper and ‘Duke’s Red’. The top of the base is stamped ‘Artist R. Tudsbury Edwinstow. nOTsh.’ circa 1840. Measures: Height 33in, 84cm Width 60in; 152.5 cm Depth 361/2in, 92.5 cm Provenance: Oberton Hall: “The Grecian-black marble top, with its ribbon-banded tablet and polychromed pietre dure compartment is a masterpiece of the Derbyshire Black Marble Works at Ashford and Old Royal Museum, Matlock. It was probably designed by William Adam (d.1873) who succeeded to the Works in 1831. A trade sheet illustration of the Museum featured a related table, where the Museum was noted as being ‘under the Especial Patronage of his Grace [Charles Cavendish, 6th] Duke of Devonshire/Minerals and Shells/Inlaid Tables/Mawe’s Original Royal Museum, Matlock-Bath. The finest Spar, and elegantly engraved Black Marble Ornaments, Chimneypieces etc, London Jewellery’.” Please see page 60 for further information on Ashford Marble...

A rare grand tour table Possibly by Cesare Roccheggiani The circular platform of marmore nero, inset with fine micromosaic panels consisting of thousands of coloured glass tesserae; a central roundel depicting The Vatican from St Peter's Square within a malachite border, surrounded by a border including four cartouches in polychrome reserves of Roman views including the Coliseum, the Roman Forum, with the remnants of the Temple of Vespasian; the Temple of Vesta, and the Pantheon, all interspersed and linked by voluminous bouquets of fruit and flowers representing the 4 seasons; the outer stylised border inlaid with deep blue tesserae evocative of exotic Lapis Lazuli. Supported on a finely carved Italian giltwood base, its design incorporating baskets of fruit and floral garlands echoing the 4 seasons theme of the table. Italian, Circa 1875 Other table tops inspired by this design, although not as finely executed, can be found in several Russian collections (which house the greatest micromosaics) including Vorontsov Palace, Muranovo House, as well as the imperial State Hermitage Museum. A tabletop with profuse floral micromosaic work was commissioned by the Belgian Royal family (sold Sotheby's, 2003). The floral garlands, the magnificent quality of the inlay and the use of distinct curved tesserae support the present attribution to Cesare Roccheggiani. According to Jeanette Hanisee Gabriel, the world expert on micro mosaics, curved tesserae pieces were used in foliage, grass and animal fur by only the very best mosaicists such as Roccheggiani. Evidence of curved pieces, for instance, is observed in the foreground of the Temple of Vesta cartouche, to name but one observation of the master's hand. The scion of a dynasty of mosaicists, Roccheggiani was perhaps the most successful mosaicist in the last quarter of the nineteenth century. He is doubtless related to Lorenzo Roccheggiani, a late eighteenth-century master mosaicist at the Vatican, whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni. Nicolo Roccheggiani, possibly Lorenzo's son, was also a principle artist at the Vatican, involved in executing the famous tabletop Achilles Shield...

Very Fine Austrian Neoclassical gueridon table with gilt brass pierced gallery, the specimen marble top with Roman micro-mosaic center depicting ruins, hav...