Column - 1950-1960 - Pedestal/Console

Italian Art Deco Liberty-style pedestal from the 1920s, made with a combination of Alpine Green Marble (also known as Verde Aver or Verde Issogne), light marble inlays, and metal.

The Marble Top highlights the splendid mineral texture of the surface, characterized by the typical dark green to intense green, almost black, background, interrupted by dense light green and white veining. The circular cut features a smooth edge with glossy ridges.

Component the Column
The close-up of the central joint reveals three stacked elements: a upper cylinder and two lower stainless steel tubular columns. An intermediate ring, spaced with acrylic resin/bakelite or matte cream-colored lacquered wood. A lower black sealing ring (likely hard rubber or rigid plastic) that serves as a chromatic separation and structural damper.

The Internal Structure (Under the Top)
The photo from below is essential: it shows how the piece is assembled. The metal columns converge inside a black-painted plastic or metal housing. In the center is visible the pin or clamping nut with cemented threading, surrounded by remnants of mastic or industrial adhesive. This single central tension rod assembly technique is typical of Italian manufacturing from the 1970s to the 1990s, designed to guarantee stability to a slender and heavy object.

A coffee table or display stand in Italian marble, chrome, and lacquer, with a truly unique style, in Art Deco, dating to around the 1920s. What makes this object particularly fascinating is its incredible resonance through time. It creates a visual language that almost feels proto-postmodern. In a contemporary interior, it would integrate perfectly with pieces from Memphis Milano, Ettore Sottsass, Italian design of the 1980s, or other postmodern objects, where its theatrical geometry and playful material contrasts would feel perfectly at ease. The work represents an extraordinary synthesis between classical materiality and the geometry of early modernism. A circular Serpentine green marble top rises above a slender architectural column composed of three bright chrome uprights, black lacquered collars, and a central Carrara marble shaft, all resting on a circular base matched in green Serpentine marble. The result is simultaneously elegant, eccentric, and decidedly sculptural. Although it dates from the interwar period, the design has a surprisingly avant-garde character. The skillful use of contrasting stones, chromed finishes, black graphic details, and overlapping cylindrical shapes place it in the refined world of Italian Art Deco and 20th-century design. It can be considered in dialogue with the refined architectural language of designers and architects such as Gio Ponti, Tomaso Buzzi, and Piero Portaluppi.

The piece reflects the charm that, in that period, luxury materials, architectural proportions, and the dialogue between classicism and modernity exerted. What makes this object particularly fascinating is its incredible resonance through time. It creates a visual language that almost feels proto-postmodern. In a contemporary interior, it would integrate perfectly with pieces from Memphis Milano, Ettore Sottsass, Italian design of the 1980s, or other postmodern objects, where its theatrical geometry and the playful contrasts between materials would feel perfectly at ease.

A truly extraordinary furnishing item: a bit pedestal, a bit aperitif-table, a bit sculptural object. Compact in size but impactful, it embodies the charm and experimental spirit of Italian decorative arts in the 1920s, also anticipating design trends that would fully emerge only decades later.