An Italian mother-of-pearl inlaid painted and carved walnut tilt-top circular center table depicting San Marco, Venice, by Antonio Catalano, Palermo dated 1872

the border of the top carved with guilloche enclosing flowerheads with a mother-of-pearl band of stylised foliage, the central painted scene depicting the Basilica of San Marco, Venice, on a flaring baluster stem and tripartite base the splayed legs headed by female terms joined by a roundel depicting the Lagoon and a view of the Basilica San Marco, Venice, on toupie feet 

Antonio  Catalano, Palermo, the grandfather of the present owner, seen in his studio, painting a similar table with a Cathedral view-reproduced here in fig.1. 

Esposizione Nazionale del 1881, Milan, where the table received the Bronze medal, Group VIII, class 38-39 see fig.2.

Colour overall slightly less orange and more attractive than in the photograph. Attractive detail to the painted top which has some retouching to the painting, but has the unusual feature of mother-of-pearl inlay which is not apparent from the photograph. There are some areas of mother-of-pearl inlay missing on the top and some areas have infill, but this does not detract from the piece. There are some very minor hairline construction cracks around the carved border due to shrinkage, which can easily be filled and there is also a slight gap between the border and the rest of the top, but this is not too noticeable. Beneath the top, there is an added section on top of the baluster stand and there are some construction cracks in the baluster section beneath and generally. Some old minor restorations to the carved foliate sections on the base, but these have been well executed and are not too noticeable. The lower section is rather dry looking and would benefit from a repolish according to taste. The carving has been very well executed. The carved wood on the top is slightly more faded than that on the base, but can be repolished. One of the roundels has a small chip to the paint revealing silvered metal beneath. There are some minor hairline cracks around the borders of the painted roundels. The toupie feet are later. The legs have metal strengtheners behind and the carved sections beneath the painted roundels on the base have been strengthened at the back. In overall good, restored condition. Highly unusual and recommended.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
M. Cera, Il Mobile Italiano, Milan, 1983, p. 213, fig. 394, illustrates a tilt-top table inlaid in a similar fashion with mother-of-pearl and painted with a scenic view, which is stated to be Piedmontese.

A related painted table with a view of Milan Catherdral, which, by repute was acquired at the 1867 Paris Exhibition, was sold in these Rooms, lot 216, 25th May 2001.  

Saint Mark's Basilica, known as the Basilica di San Marco, is the most famous of the city's churches and one of the best known examples of Byzantine architecture. It is situated in St. Mark's Square and adjacent and connected to the Doge's Palace. Originally it was the "chapel" of the Venetian rulers, and not the city's cathedral. Since1807, it has been the seat of the Patriach of Venice, Archbishop of the Roman Catholic Archdiocese of Venice. For its opulent design, gilded Byzantine mosaics and its status as a symbol of Venetian wealth and power, from the 11th century onwards the building was known by the nickname Chiesa d'Oro (Church of gold).