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Description

An exceptional ormolu mounted satinwood amaranth and Sèvres porcelain Sécretaire-à-Abattant attributed to Adam Weisweiler probably under the direction of Martin-Eloi Lignereux, circa 1800 121 x 86 x 35 cm The rectangular white and gray vained marble top with pierced gallery sourround above a hinged fall front with Sèvres porcelain plaque depicting flower sprays and green and gilt tooled leather surface to the reverse, inclosing a fitted interior with open compartments and four drawers flanked by ormolu caryatides above a secret breakfront frieze drawer decorated with cast foliage on an octagonal tapering legs ending in toupie feet joined by a pierced and shaped stretcher. The porcelain plaques later painted, possibly ca. 1830, minute scratches to marble, minor wear, leather liner probably later. Auction Piasa, Paris, 16. December 2009, lot 299 Auction Sotheby's Paris, Mme. Riahi - Les œuvres que j’ai aimées, 6. July 2017, Lot 105 The use of expensive Sèvres porcelain plaques in French furniture can be linked to the importance of the role of marchands-merciers in the 18th century. Defined by Diderot as “dealers of everything, makers of nothing”, these entrepreneurs, both designers and decorators, existed as the link between wealthy clients and the best ébénistes. Responsible for decorating the most beautiful residences in Paris and abroad, they drove and dictated fashion and themselves became the greatest customers of porcelain factories such as that of Sèvres, by integrating porcelain plaques into furniture. Thomas-Joachim Hebert, Simon Poirier and Dominique Daguerre were amongst the best-known marchands-merciers; and it was Daguerre who called on Weisweiler the most, commissioning him to make furniture with porcelain plaques such as a acomparable model to this cabinet in the palace of Pavlovsk.

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An exceptional ormolu mounted satinwood amaranth and Sèvres porcelain Sécretaire-à-Abattant attributed to Adam Weisweiler probably under the direction of Martin-Eloi Lignereux, circa 1800 121 x 86 x 35 cm The rectangular white and gray vained marble top with pierced gallery sourround above a hinged fall front with Sèvres porcelain plaque depicting flower sprays and green and gilt tooled leather surface to the reverse, inclosing a fitted interior with open compartments and four drawers flanked by ormolu caryatides above a secret breakfront frieze drawer decorated with cast foliage on an octagonal tapering legs ending in toupie feet joined by a pierced and shaped stretcher. The porcelain plaques later painted, possibly ca. 1830, minute scratches to marble, minor wear, leather liner probably later. Auction Piasa, Paris, 16. December 2009, lot 299 Auction Sotheby's Paris, Mme. Riahi - Les œuvres que j’ai aimées, 6. July 2017, Lot 105 The use of expensive Sèvres porcelain plaques in French furniture can be linked to the importance of the role of marchands-merciers in the 18th century. Defined by Diderot as “dealers of everything, makers of nothing”, these entrepreneurs, both designers and decorators, existed as the link between wealthy clients and the best ébénistes. Responsible for decorating the most beautiful residences in Paris and abroad, they drove and dictated fashion and themselves became the greatest customers of porcelain factories such as that of Sèvres, by integrating porcelain plaques into furniture. Thomas-Joachim Hebert, Simon Poirier and Dominique Daguerre were amongst the best-known marchands-merciers; and it was Daguerre who called on Weisweiler the most, commissioning him to make furniture with porcelain plaques such as a acomparable model to this cabinet in the palace of Pavlovsk.

Estimate 40 000 - 60 000 EUR
Starting price 40 000 EUR

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For sale on Tuesday 25 Jun : 09:30 (CEST)
stuttgart, Germany
Nagel Auktionen
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Small circular table in wood and mahogany veneer, opening at the waist with a drawer forming a writing desk. It is supported by three dark copper fluted columns, joined by a concave triangular crotch shelf, adorned with a small tray on a baluster. The whole rests on small saber feet. It is embellished with exquisite ornamentation in finely chased and gilded bronze, including openwork galleries, frames, fretwork plates, rings, fluting and sabots. Paris. Late 18th century. Directoire period. Attributed to Adam Weisweiler. H_72 cm D_55 cm Restorations. Provenance : Former Dimitri Agelasto Collection, Brussels This model, almost certainly created by Dominique Daguerre, was produced by Weisweiler in several copies in a circular format, the first of which, around 1785, for Count Pavel Martynovich Skavronsky, then Russian Ambassador to Naples, followed by a second which was delivered to Madame du Barry for her apartments at the Château de Versailles. The success of this piece led Weisweiler to continue producing it until the end of the century, in the form of pedestal tables and tables. Around 1790, a belt, sometimes with a writing-table drawer and simpler solid mahogany columns adorned with copper fluting, similar to the one shown here, appeared. Trays, which were generally adorned with Wedgwood plates, could also be decorated with porcelain or Sèvres cookie plates, or simply veneered, or even topped with a marble or lacquer top, like the one in the former Fabre Collection. Bibliography: Weisweiler. Patricia Lemonnier.Editions d'art Monelle Hayot, Paris - 1983 18th-century French furniture. Pierre Kjellberg. Les Éditions de l'Amateur - 2002 Light furniture in France. Pierre Devinoy and Guillaume Janneau. Paul Hartmann, Paris - 1952