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Console Table

CultureFrench
Dateca. 1750
MediumOak with gold leaf and a Brèche d'Alpe marble top
DimensionsOverall: 34 × 64 1/4 × 27 5/8 inches (86.36 × 163.2 × 70.17 cm)
Credit LinePurchase: William Rockhill Nelson Trust
Object number55-107 A,B
On View
On view
Gallery Location
  • 119
DescriptionFour diagonal, scrolled stretcher members intersecting in cartouche, above, C-scroll below. Legs consisting of short reverse C-curve, top, longer C-curve, center, very short reverse C-curve to foot; carved shell on each shoulder. Elaborate pierced apron with scrolls, leaves, etc. Breche d'alpe marble top.Gallery Label
This richly gilded console table is a lively example of the fluidity and the exuberance of the Rococo style of the mid-18th century. Curvilinear "C-scrolled" legs are joined together by the wildly asymmetrical stretcher composed of animated swirls and entwined foliage. Supported by shells in each corner and an elaborately pierced apron, the scalloped top is carved from Brèche d'Alpe marble, composed of vibrantly hued fragments against a golden background. The popular marble was sought after by the French royalty for furniture and fireplace surrounds.
Provenance
With Alexander Ball, New York, by August 13, 1948;


Purchased from Ball by French and Company, New York, stock no. 47421, August 13, 1948-October 31, 1955 [1];


Purchased from French and Company by The Nelson-Atkins Museum of Art, Kansas City, MO, 1955.


NOTES:


[1] Getty Research Institute, Los Angeles, French and Company Stock Sheets, box 79, folder 1.



Published References

“Special Events,” The Magazine Antiques 69, no. 2, (February 1956): 166 (repro.).

Société Française De Promotion Artistique, “La Console,” Connaissance Des Arts 151 no. 18 (September 1964): 66-75, 73 (repro.).

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 227 (repro.).

Newsletter, The Nelson-Atkins Museum of Art, (November 2002): n.p. (repro.).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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