The turning here is deliberately soft. Instead of the crisp beads and sharp shoulders used on the Beaded Column, every transition is rounded off, so the profile reads as a series of swells rather than as separate cut features.
The brass is the difference. Rather than being burnished up to a mirror, the collar is brushed in one direction and left there, which knocks the shine back to a low grey-gold and stops it competing with the pale wood beside it. It will dull further and unevenly with handling, which is the intended look.
The wood is left unstained and finished matte, with no sheen at all. Of the three pieces in this collection it is the quietest, and it is the one that suits a shop with a lot of brass and colour already on the shelf.