黑檀木鑲銅鎏金配桃花心木供桌，雅各·D·R·米斯理製造，銅鎏金部分傳為法國頂級鑄銅師皮耶·菲利普·托米耶（1751-1843年）製， 帝國時期，約1803-1809年作

with a rectangular bleu turquin marble top above a recessed ebony veneered frieze with a band of amphora vases decorated with an anthiemion suspending ribbon-tied swags of flowerheads with tasselled acorns and surmounted by flower and foliate medallions each with a profile classical bust depicting a Satyr, Dionysos, Jupiter, Juno and Apollo with an anthemion at each side, each end with a ribbon-tied wreath enclosing a stylised lyre with drapery, on pilaster supports with lotus leaf cast headers, the front supports mounted with Cupid in a cloak holding aloft a laurel wreath within stylised foliage and flowerheads surmounted by an anthemion, each side similarly mounted to the front, the left side with the mask of Artemis amongst a quiver, arrow and hunting horn, the other side with a female mask above ribbon-tied laurel sprays on a rectangular platform stretcher and block front feet, the underside of the frieze with the marque au fer R15, with a restorer's handwritten pencil inscription inside the frieze`Alois Pock Tischlermeister Priling/Peiling.., Ru...ann 15/11. 1919. Lonn...'; the top of the left side beneath the marble with the pencil inscription Rosny; marble top restored; minor alterations to the carcass of the top 

幾乎肯定在大約1821年間，巴黎著名家具工坊雅各·德斯馬泰（Jacob-Desmalter） 將本品送至巴利公爵夫人瑪麗·卡洛琳（Marie-Caroline, Duchesse de Berry）（1798-1870年）位於巴黎近郊伊夫林省羅尼塞納河鎮（Rosny-sur-Seine）的羅尼堡（見圖1），置於堡內的沙龍廳。

1830年後移送至公爵夫人位於奧地利格拉茨的布倫湖宮（Schloss Brunsee）；

自此由路蓋斯·帕利（Lucchesi–Palli）家族收藏；

歐洲貴族收藏

In overall good condition. Exceptional quality casting and chasing of the mounts and beautiful mahogany veneers. The marble top has been broken in the past and has been restored but it would benefit from some attention as along the front edge there is some dark grey infill which protrudes slightly. The top also has a large square stain where perhaps there was formerly an object approx 30cm x 30cm, together with other scratches and stains and minor chips and would benefit from a light clean. There appears to be an artificial stain on the back together with some water staining internally inside the frieze. There are some very fine age cracks in the ebony veneer but these are not too noticeable. The flame mahogany veneer has a very attractive patina with some very minor splits and chips generally and some minor staining, scratches and scuffing to the platform base consistent with normal usage. There are also some very minor patches to the veneer eg to the top of the front frieze but these have been well executed and are hardly noticeable. There are some steel knobs inside the frieze securing the legs. As stated in the catalogue the upper carcass has been altered by a restorer who has signed in the back left corner. The alterations have possibly been made to create a concealed space which could act as a safe for possessions; this has not altered the external appearance at all.
"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."

這件華麗考究的供桌比例均衡完美，與另一對供桌（見拍品編號56）都是帝國時期巴黎著名家具公司雅各·德斯馬泰（Jacob-Desmalter）的傑作，年代是十九世紀初。儘管家具公司沒有留下有關的庫存紀錄，但幾乎可以肯定是在1821年（有該對供桌的送貨紀錄）後才被送到巴利公爵夫人瑪麗·卡洛琳（Marie-Caroline, Duchesse de Berry）最喜歡的宅邸——羅尼堡（château de Rosny）；而且櫃身附有代表羅尼堡的「R 15」鑄印。

此類型桃花心木壁柱供桌（consoles à pilastres），置於「沙龍」（salon）客廳中，倚柱而立；廳內宏偉的高柱與鎏金供桌（如本品）互相映襯，使客廳更顯富麗堂皇。此桌與另一對供桌風格相似、同樣精巧非凡，雖然未印有雅各·德斯馬泰的工匠蓋印，但若將之與德斯馬泰製作的其它供桌和鑲飾家具相比，不難得出一個結論：本桌是此家具公司的出品；鎏金部分則出自法國頂級鑄銅師皮耶·菲利普·托米耶（Pierre-Philippe Thomire，1751-1843年）之手；至於交付到羅尼堡的日期大概比另一對供桌晚數個月。

此供桌採用紋理細緻的桃花心木，又以黑檀木為底襯托如首飾般華美精緻的銅鎏金鑲飾；如此不惜成本地採用最優質的木材和考究的鑲工設計，顯示委託者對此桌的重視。桌身的圖案花紋考究奪目，有莨苕葉、棕葉飾、雙耳細頸瓶、垂花、新古典主義徽章。這樣的裝飾元素靈感皆源自1801年查爾·沛慈耶（Charles Percier）及皮耶·法蘭索瓦·勒昂納·方丹（Pierre-François Léonard Fontaine）所著《Receuil de decorations intérieures》（譯：《室內設計總集》）中的古典圖案；二人欲將帝國時期風格發揚光大，以彰顯拿破崙政權之輝煌強盛。