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.