An unusual palisander and marquetry chinoiserie metamorphic table-banquette circa 1825, possibly Italian, Piedmontese and by Gabriele Capello

the sliding oblong top with inlaid panels portraying a Mandarin court receiving Jesuit missionaries one of whom carries a Seal within a casket engraved 'Esceau du Roi', the inlaid woods with penwork heightening within an ivory and green stained ivory strung cartouche, enclosing a horsehair upholstered folding bench, the moulded frieze inlaid with Chinese vases and other 'precious things' on compound end supports carved with Chinese dragons supported by trellis fences within turned uprights on massive scrolled feet and a moulded stretcher

With Temple Williams Ltd., Haunch of Venison Yard, London, where acquired by Wilfrid Evill (£600) 5 February 1960, until sold Sotheby's, Wilfrid Evill Collection, 12 July 1963, lot 109 and purchased, through an agent, by Honor Frost.

On loan to The Royal Pavillion Brighton (circa 1965-1977) where displayed in the Kings Bedroom and latterly in The Victorian Gallery at The Brighton Museum and Art Gallery, Brighton.

This extraordinary table is in generally in good condition and the carving and inlay are especially fine. The top is warped with splits and cracks to the veneer. The marquetry panels to each end both have splits. The base is in good solid condition with only minor marks and wear commensuarate with age. As the top is warped, operating the mechanism is initially somewhat difficult, the horse hair upholsterey to the seat is worn and torn. The inner wing of one of the dragons has some rubbing.
"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."

For this extraordinary table we can make a tentative attribution to the celebrated maker Gabriele Capello (1806-1879), also commonly known as Il Moncalvo. He was a cabinet maker whose work was of the highest quality. His marquetry was sophisticated, often whimsical. He often collaborated with Filippo Pelagio Pelagi (1775-1860), a designer, who like Capello, was highly regarded. Pelagi was in charge of the decoration of the Royal Palaces, including Racconigi. His inventive furniture styles were very eclectic and his commissions varied and ranged from the Etruscan to the neo-Gothic.

What is striking about the offered lot and the output of Capello in general are some unifying factors; the clever use of marquetry, the contrast of dark and light woods and above all a revelry in finely carved detailing.  See the sumptuously carved winged beasts in the offered lot. We see variations of these riotous entwined mythical creatures and beasts in the designs of Pelagi and in the carving of Capello.

For the same capped border or pediment below the beasts and just above the feet in the offered lot see a suite of furniture, attributed to Capello, Roberto Antonetto, Gabriele Capello, Torino, pl. 183. This illustrated desk has a similar central stretcher configuration. Also see pl. 137, pl. 185, for similar palmettes carved into the stretcher, a motif Capello adored and which he used extensively in inlay.

There was widespread interest in Chinoserie as an exuberant 'new' style at the time of the manufacture of this piece, one only has to look at Nash's Brighton Pavilion (c.1815-1822) in England. This riotous style manifested itself in the work of designers and cabinet makers across Europe. We see it in Italy, notably in Turin where many Palazzo featured an Oriental flourish within a Chinese Room, see the Chinese apartment at Racconigi. It may be that this lot was part of an overall decorative scheme, perhaps for one of those exotic rooms, Capello and Pelagi certainly worked on overall decorative schemes, see The Etruscan Room, from 1827, at the Castello di Racconigi, Turin.