A rare neoclassical ormolu table with specimen marble top possibly Russian, circa 1835

with a rectangular top inlaid with jasper and lapis lazuli within a white marble border carved with egg-and-dart, the ormolu frieze fitted all around with small quatrefoil, raised on scrolled, fluted curule-form supports fitted with lapis flowers, on a stepped base joined by an acanthus leaf-cast, fluted double-baluster stretcher. Jasper top with restored center section, wooden underframe partially replaced.

The overall condition is good. As noted in the catalogue description the top has a restored center section, there are also older restorations to the jasper. There are repairs and some restorations to the white marble border; old repairs and some replacements to the lapis border. The ormolu base is of extremely good quality with some wear which is consistent with age and use. There are traces of verdigris and old polish and it will definitely benefit from light, expert cleaning.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The inspiration for the overall design of this table comes from ancient Rome and Greece, the curule shape of the supports deriving from stools which were formed from curved, crossed supports.  Following the excavations of Pompeii and Herculaneum, contemporary designers such as Percier and Fontaine, and Jean-Nicolas Dunand in Paris, Thomas Hope and George Thomas in London, were greatly influenced by designs they saw on the actual pieces of furniture which were uncovered, as well as on kraters, on reliefs, gravestones, etc.  These design influences spread across the artistic centers of Europe and from the end of the 18th century into the beginning of the 19th century, French, English, German, Italian and Russian craftsmen freely interpreted what was generically referred to as the goût étrusque. 

Since this taste was so widespread it is frequently challenging to establish precisely where certain pieces were made.   By the end of the 18th century many foreign craftsmen and merchants had settled in Saint Petersburg in order to meet the demands of an increasingly sophisticated court and aristocracy.  Furniture and objects made in Russia were heavily influenced by contemporary French design and works in ormolu were appreciated and imported to such an extent that the import of French bronzes was banned for a period of time.  Bronze founders in Saint Petersburg were extremely adept at interpreting French bronzes, at copying French bronzes and at producing designs which are also uniquely Russian.  The quality quality of the ormolu was extremely high, furniture and objects were made with combinations of ormolu and hardstones as well as ormolu and brilliant cut-glass.  

The production of ormolu in Saint Petersburg was, therefore, on a par with that of Paris, this is an area of new research and in the absence of documentary evidence, it can be very difficult to establish precisely where certain pieces were actually produced.