A mid Victorian specimen marble, hardstone, mineral and blue John inlaid Ashford marble centre table
The octagonal top inlaid with a central pietra dura parrot on a fruiting and foliate branch, within a rope twist border comprised of a mosaic or simulated patchwork of assorted marbles, hardstones and minerals, on a ring turned baluster column terminating in a concave tripartite base with bun feet, approximate diameter of the top: 71cm; 71.5cm high.
Footnotes:
The marble typically referred to as Ashford marble is in fact a form of limestone which comes from two quarries in Derbyshire, near Ashford-in-the-Water. When polished up, its surface builds up to a deep lustrous and glossy black and this can be clearly seen on the above table.

Records indicate that Ashford marble was probably first used in the 16th century and the earliest instance of this was during the 1590s, where it was used in the production of chimney pieces for Hardwick Hall, Derbyshire. Thereafter, it appears to have been manipulated for both architectural and decorative purposes. The operations at Ashford and Derby are referred to in 'Glover's History and Gazetteer of Derbyshire' of 1829, where it is mentioned that the stone: 'is wrought into articles of domestic elegance and into monuments, chimney pieces are sold at various prices, from 30s to upwards of £60, and beautiful tables of black marble, enriched with elegant engravings, are also made there'. A further notable element is that during this period it seems that much of the marble output of these quarries was subsequently either etched or engraved.

From the 1830s onwards this material became highly fashionable among the wealthy and aristocratic in Britain. Included among the patrons for Ashford marble was William Cavendish, 6th Duke of Devonshire (d.1858), who was a major collector and connoisseur of mineral specimens, particularly indigenous ones. Cavendish commissioned craftsmen who were based close to his home at Chatsworth to execute, among other things, enormous doorways for a new wing there.

W. Adam, then working at (and later to manage) John Mawe's establishment at Matlock, claimed to have revolutionised the inlaying of black marble; he published his Gem of the Peak in 1838 (1st ed.), which described Florentine mosaic or pietra dura in intricate floral and geometric patterns, and he supplied a 'magnificent table... inlaid with a wreath of flowers and foliage' to Windsor Castle on behalf of Queen Victoria in 1842.

The new processes, designs and practicalities which were expounded by Adam influenced a great number of local makers and workers in this stone, and this resulted in the latter quickly adopting them in their own practices. Also, as a direct consequence of this fact, new workshops were founded in Matlock, Bakewell, Buxton and Castleton which used other minerals, either likewise mined in the nearby area or otherwise imported. All of these locations rapidly became popular tourist destinations, whilst they experienced a concomitant increase in requests for souvenirs such as clock cases, candlesticks, ink stands and vases, as well as for smaller pieces of furniture.
This lot is subject to the following lot symbols: TP
TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.

For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.