Table
- Place of origin:
London, England (probably, made)
Rome, Italy (probably, made)
- Date:
- Artist/Maker:
Barberi, Michelangelo, born 1787 - died 1867 (probably, maker)
George Morant & Son (probably, maker)
- Materials and Techniques:
[Table base] Mahogany and limewood, painted and gilded, with birds of cast plaster and metal, gilded leather bullrushes and flowers, and composition lily leaves
[Table top] Micro-mosaic marble
- Museum number:
- Gallery location:
British Galleries, room 122f, case 3
- Download image
Object Type
Circular tables with decorative supports, like this elaborate example, were very fashionable in the 1840s and 1850s for the centre of the drawing room.
People
The firm of George Morant & Son, decorators and cabinet-makers, was founded in 1790. Its large and fashionable clientele included the 2nd Duke and Duchess of Sutherland, to whom the company supplied a table with swans and lotus leaves for Stafford House (now Lancaster House), London, in 1838. The firm's display at the Great Exhibition of 1851 included tables with storks and with swans, the latter apparently designed by the Duchess. The Chevalier, or Cavaliere, Michelangelo Barberi, who exhibited his micro-mosaic work at the Exhibition, supplied a table top for Arundel Castle, West Sussex, in 1847, which is very similar to this example.
Materials & Making
The technique of moulding leather to create floral swags, frames and friezes was popular with professionals and amateurs in the 1850s. Wet sheets of leather, either goat, calf, or sheepskin, were cut to shape, using paper patterns. The leather could be stamped or incised to create areas of shallow patterning. Stems were made by rolling strips of wet leather around wires, while flowers and leaves were moulded by hand and then glued to the stems. The leather decoration on this table was then gilded.
Place of Origin
London, England (probably, made)
Rome, Italy (probably, made)
Date
ca. 1851 (made)
Artist/maker
Barberi, Michelangelo, born 1787 - died 1867 (probably, maker)
George Morant & Son (probably, maker)
Materials and Techniques
[Table base] Mahogany and limewood, painted and gilded, with birds of cast plaster and metal, gilded leather bullrushes and flowers, and composition lily leaves
[Table top] Micro-mosaic marble
Dimensions
Height: 79 cm, Diameter: 68.5 cm
Object history note
Purchased by the museum from Lady Ashton (Madge Garland). Her husband Sir Leigh Ashton was director of the Victoria & Albert Museum from 1945 until 1955.
Base probably made by the firm of George J. Morant, London; top probably by Michelangelo Barberi of Rome
Descriptive line
Table, the carved, painted and gilded base naturalistically depicts storks and bulrushes, the micro mosaic top is decorated with fruits and flowers. British, about 1845-1850.
Labels and date
The base of this table is similar to one shown by Morants at the Great Exhibition of 1851. Morants were leading cabinet makers, and the design of the base combines Neo-classicism (Piranesi had incorporated storks into his Neo-classical candalabra), naturalism and scrolls in the rococo revival style. The top is similar to one provided to the Duke of Norfolk at Arundel, in 1847 by Barberi of Rome, which also has a base by Morants. The mosaic top of fruit and flowers must have appealed to the mid-Victorian taste for natural ornament and also by its sheer virtuosity. [1980]
Morant showed a very similar table at the Great Exhibition of 1851, which was widely criticised for the over naturalistic character of the base. The top is very similar to that on a Morant table at Arundel Castle dating from 1847. [1993]
TABLE
ENGLISH; about 1851
The base of carved, painted and gilt wood, with metal parts, the top marble inlaid with micro-mosaic.
Attributed to Morants of London (the base) and to Barberi of Rome (the top). The base of this table is similar to one shown by Morants at the Great Exhibition of 1851. Morants were leading cabinetmakers, and the design of the base combines neo-classicism (Piranesi had incorporated storks into his neo-classical candelabra), naturalism, and scrolls in the rococo revival style. The top is similar to one provided to the Duke of Norfolk at Arundel, in 1847 by Barberi of Rome, which also has a base by Morants. The mosaic of fruits and flowers must have appealed both to the mid-Victorian taste for natural ornament and also by its sheer virtuosity. [pre October 2000]
British Galleries:
Many firms used the Exhibition to display their most innovative techniques and design. The bullrushes and flowers on this table are moulded leather. The 'Art Journal' praised it's durability and similarity to wood carvings. [27/03/2003]
Production Note
Morant exhibited a very similar table with a top painted in imitation of pietra dura at the Great Exhibition of 1851. A table at Arundel Castle of about the same date has a micro mosaic top known to be from Barberi's workshop.
Materials
Wood
Techniques
Carving; Gilding; Mosaic; Painting (coating)
Subjects depicted
Fruit; Flowers (plants); Stork (bird)
Categories
Furniture; British Galleries
Collection code
FWK
