A gilt-bronze-mounted thuya architect's table attributed to Adam Weisweiler (1744-1820), probably supplied by Dominique Daguerre Louis XVI, circa 1790

with a rectangular felt-lined hinged top with a pull-out slide in each side with a steel ratchet mechanism with a frieze with two raised oblong panels interposed by a gilt-bronze hole fitting a steel and wooden handle to operate the mechanism to raise the top with a steel bar forming a lectern for the top, with a raised rectangular vertical panel at each angle above gilt-bronze collars on fluted turned tapering legs terminating in toupie and ball feet, the carcass made of mahogany   

Collection of Count Gian Vincenzo Galanti (1860-1941), Naples, where it was known as `the Hamilton table', purportedly from the collection of Sir William Hamilton (1731 - 1803);
Thence by descent.

In overall good original condition with the original felt top which is worn as visible from the catalogue photograph. Colour less red more natural and attractive than in the catalogue photograph. Old minor marks, chips and scratches consistent with age and normal use. Construction cracks and age cracks especially to the top of the lower section as visible from the catalogue photograph p. 97, which can easily be filled or left. The mechanism is in working order. The beautiful original patina of the wood is most attractive.The veneer is a little dry looking and would benefit from a repolish according to taste. The mounts are tarnished and would benefit from a light clean. There is a minor loss to veneer either side of the left drawer which can easily be restored. Also below the right drawer there is a 4cm strip of veneer missing which can easily be restored.
"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:
Alvar Gonzáles-Palacios, `Arredi Imperiali per la Fine di Murat a Napoli', Antologia di Belle Arti, NN. 31-32, 1987, pp. 94-119.
Pierre Arizzoli-Clémentel, Versailles Furniture of the Royal Palace, 17th and 18th centuries, Vol. 2, Dijon, 2002, p. 126, fig. 41.
Patrick Lemmonier, Weisweiler, Paris, 1983.
Alvar Gonzáles-Palacios, Il Gusto dei Principi, Vol. II, Milan, 1993, pp. 80 fig. 141, p. 82, fig. 143, p. 84, fig. 145.
Alvar Gonzáles-Palacios, Daguerre, Lingereux and the king of Naples’s Cabinet at Caserta, Burlington Magazine, June 2005, pp. 431-442.
Alexandre Pradère, French Furniture Makers the Art of the Ebéniste from Louis XIV to the Revolution, Tours,1989, pp. 389-403.

This incredibly rare and beautifully crafted architect's table bears many hallmarks of Weisweiler’s oeuvre in terms of its exceptional craftsmanship, beautifully figured thuya veneers and complicated mechanism. The mechanism is in steel and has an internal wheel operated by a handle and it has the original felt on the top of the table where an architect could pin drawings which is a rare feature to have survived until now. The steel and bronze mechanism is certainly by Jean-Gotfitt Merklein (1733-1808), who supplied the best cabinet-makers such as Weisweiler and J.H. Riesener (see for example the mechanical table which belonged to Queen Marie-Antoinette in the Metropolitan Museum, New York).

The authorship of this architect’s table to Adam Weisweiler can also be made on the basis of its strong similarities with another burr veneer and ebony mechanical writing table stamped A. Weisweiler, sold from the collections of Lily & Edmond J. Safra, Vol. II, Sotheby’s, New York, 3rd November 2005, lot 185, ($168,000), reproduced here in fig. 1. Although not an architect’s table, the form and mechanism are extremely similar. It differs from the offered table in that it has an added superstructure of drawers as it was conceived as a writing table, but the form is similar with a side drawer and double panelled frieze, gilt-bronze collars on fluted tapering legs and the exact same combination of toupie and ball feet as on the present table. Also the choicest veneers are used on the offered table and the gilt-bronze mount on the frieze conceals the winding hole, cranked by a steel handle-the wooden handle section appears to have been missing on the Safra table which is present on ours. 

Weisweiler is known to have produced other types of mechanical furniture and was expert at producing these complex mechanical pieces of furniture much like his contemporary David Roentgen, such as the popular `tables à thé’ with their circular rising and falling tiers when released by their respective mechanisms.Virtually all of Weisweiler’s production was sold by the marchand-merciers notably Dominique Daguerre and by his fellow ébénistes including Jean-Henri Riesener and Guillaume Benneman. Current literature seems to indicate that Weisweiler made very few writing or architect’s tables suggesting that the offered table may well have been a special commission by Daguerre for one of his important clients.

It is worthwhile considering a Louis XVI 'drawing table' attributed to Adam Weisweiler now at Versaille, Pairs, Inv. T 511c, with the mark of the Tuileries during the Restauration period, which was sent from the Garde-Meuble, to the Petit Trianon in 1868, illustrated by Arizzoli-Clémental, op. cit., p. 126, fig 41. It has lyre shaped legs a precursor to the Empire style, seen for example on the work tables supplied by Jacob-Desmalter to Pauline Borghese at the Petit Trianon or the large imperial dressing-tables.

One cannot consider this table without putting it into context with the other Weisweiler furniture which is today still in Naples. No other city in Italy apart from Naples has such a large number of pieces by Weisweiler. This is due in no small part to the collection of Joachim Murat (1767-1815), who became King of Naples on 6^th August of 1808. The Queen of Naples, Caroline Bonparte (1782-1839), Napoleon's younger sister, was a client of the celebrated marchand-mercier Dominique Daguerre and Weisweiler was her favourite ébéniste. Alvar Gonzáles-Palacios, op. cit., pp. 94-119, illustrates these pieces by Weisweiler in thuyawood, conceived in a similar vein to the offered piece, although they have elaborate gilt-bronze mounts by Thomire and are later in date than the offered piece, including a commode and secrétaire en suite, circa 1809-11, now in Palazzo Reale in Naples. Furthermore, Weisweiler furniture in the King of Naples's Cabinet at Caserta in Naples, has been studied in detail by Alvar Gonzáles-Palacios, The Burlington Magazine, June  2003, op. cit., pp. 431-442, although this dates from the same period as the offered piece, the furniture at Caserta was in lacquer. There is documentary evidence containing a long bill from Daguerre and Lignereux specifying that the aforementioned lacquered pieces acquired on 21st March 1792, for the court of Naples were destined for Caserta.  

Count Gian Vincenzo Galanti (1860-1941), Naples:
The present table comes from one of the most important collections in Naples. Between the end of the 19th and the beginning of the 20th century, Count Gian Vincenzo Galanti (1860-1941), acquired an important collection half of which bought by himself and the other half inherited from his father in law, Onorato Gaetani, 7th Prince of Piedmont, 12th Duke of Laurenzana, Grand Count of Alife.

Gian Galanti owned the celebrated `General John Cadwallader's chair' (sold by Sotheby’s in 1982) illustrated in Art at Auction, 1982-1983, p. 255, fig. 1, attributed to Thomas Affleck of Philadelphia (1770) which had been part of the collection of General Cadwallader in his house where the first American Parliament had met. He inherited it from his father in law with other important paintings and maiolica from Palazzo Gaetani. His collection was so highly regarded that he decided to sell part of it in an important sale that took place in Florence with the Ciardello gallery in 1925. One of the most prestigious objects sold was a plate representing the Madonna teaching Jesus how to read, reputed to be ‘the most beautiful piece of Deruta manufacture’. In the same sale the Rothschild family bought two tobacco boxes in porcelain from Naples representing portraits of Marie-Caroline, Queen of Naples.

This architect’s table was always during the 19^th century called `the Hamilton table‘ in  the 1870 archival papers of  the Galanti family where this table was originally. There were very strong connections of both Sir William Hamilton (1731– 1803) and Adam Weisweiler (1744-1820) with Naples, so it is therefore hardly surprising that such a sophisticated table would find itself in a renowned Neapolitan collection. Sir William Hamilton served as British Ambassador to the Kingdom of Naples from 1764 to 1800. He was also antiquarian, archaeologist and volcanologist. He could have commissioned from Weisweiler an architect's table for his studies. Unfortunately there is no inventory of his Neapolitan residence at Palazzo Sessa.  

Adam Weisweiler (1744-1820):
Adam Weisweiler, received Master 1778, active until 1809. He was of German origin and established in the rue du Faubourg Saint-Antoine, Paris, and became maître in 1778. He is one of the most original ébénistes of the Louis XVI period and is said to have been born at Neuwied-am-Rhein and trained with David Roentgen.He specialised in luxury furniture, apparently in the main for the marchand-mercier Dominique Daguerre, whose favourite ébéniste he seems to have been. According to Pradère, op. cit., p. 389, `the few documented pieces by Weisweiler were almost all supplied by the marchand-mercier Daguerre who must have had a quasi-monopoly over Weisweiler's luxury pieces', including the lacquer table supplied in 1784 for Marie-Antoinette at Versailles and later at Saint-Cloud or the lacquer secrétaire of the same date for Louis XVI's Cabinet Intérieur at Versailles or the mahogany commode of 1788 with three panels for the Cabinet Intérieur of Louis XVI at Saint-Cloud.

Weisweiler's clientèle was essentially that of Daguerre: the French Royal family, the nobility, foreign royalty including the Queen of Naples, Marie-Carolina who owed Daguerre 14,225 livres and the King of Naples 5, 977 livres which probably corresponds to the black lacquer pieces now in the Metropolitan Museum of Art, New York (see ante). When an inventory upon the death of his wife was taken in 1809, numerous sheets are described as `of mottled wood' or `figured' or `burr-wood'. Amongst his specialities were commodes à vantaux made up the major part of his output and secrétaires en cabinet. He also produced smaller items of ladies' furniture decorated with precious materials such as lacquer, porcelain and ebony or Wedgwood biscuit. He preferred to use restrained veneers in ebony and mahogany and marquetry is almost completely absent from his work. Weisweiler's work is notable for certain idiosyncratic features: detached angle-mounts of multiple section, toupie feet and interlacing stretchers, as well as for a very high level of craftmanship and quality of detail particularly in the attachment of the mounts. According to Pradère, op. cit., p. 400, `The general impression even on the largest pieces by Weisweiler, is of lightness bordering on fragility.'

ADAM WEISWEILER AND DOMINIQUE DAGUERRE:
Dominique Daguerre, who in 1777, had taken over the highly successful business established by his cousin by marriage, Simon-Philippe Poirier, was unquestionably the most famous marchand-mercier in Paris. His clientèle included not only the royal family and princes of the blood, but also titled foreigners, such as the Comte and Comtesse du Nord who gave him many commissions during their famous visit in 1782. He sold furniture to the French aristocracy, rich French financiers, and after 1785 when the Garde Meuble stopped employing Riesener, the finest furniture destined for the King and Queen at Versailles or Saint Cloud was purchased from Daguerre.

Dominique Daguerre had important links with England, he imported furniture from there and is largely credited with making the `style anglais' fashionable in Paris and the present table is almost English in its appearance. After 1789 when he entered into a partnership with Martin-Eloi Lignereux his business in England expanded, and he maintained a shop in London. Thus not only did he popularize English taste in France, he also can be credited with bringing French objects and French taste to England. His English clients, like his French patrons, were royal, aristocratic and rich, notably the Francophile Prince of Wales, the Duke of Bedford, Duke of York, Lord Spencer and others. His stock was even sold in England in 1791, three years before his death in 1794.