Louis XVI-era Pedestal Table, Attributed To Adam Weisweiler.

Stunningtripod pedestal table with a crossbar top, from the late 18th century, attributed to Adam Weisweiler (1744–1820).
Crafted from mahogany and mahogany veneer on an oak frame, the circular top is encircled by a gallery of fluted moldings with a chiseled border, simulating a gilded bronze snakeskin pattern, enclosing a magnificent Aleppo breccia marble.
The slightly stepped band is accentuated by recessed frames featuring rows of gilded bronze beads.
Three pairs of vertical posts, in the form of small columns inspired by antiquity and resembling bamboo.
At the center of the posts is a small circular mahogany shelf edged with a gilt-bronze border, echoing the motifs of the main tabletop.
A concave tripod base accented with gilded bronze fillets, extending into highly curved legs and feet featuring elongated acanthus leaves, reminiscent of the curves of a klismos.

The underside of the top shows traces of two-handed sawing and manual planing from the 18th century (marks from a renette plane and other hand tools). It also features an oak assembly consisting of four hand-fitted sections. This cabinetmaking technique was typical of the major Parisian workshops of the 18th century to prevent the wood from warping beneath the marble.
The square metal plates beneath the tripod base are hand-hammered with a custom-fitted shape for each leg.
The screws securing the bronze finials and plates have slightly irregular heads, notched with a file—a characteristic of late 18th-century artistic bronze work.


The bamboo-style legs of this guéridon are entirely representative of the exotic taste popularized by trendsetters such as Madame du Barry. She presented the Duke of Brissac with a similar pedestal table supplied by the haberdashers Lignereux and Daguerre in 1791. Daguerre’s postmortem inventory mentions: “A small round table in the style of a guéridon, made of polished mahogany burl on three pairs of gilded bronze legs shaped like bamboo, with crossbars between the legs...(Patricia Lemonnier,Weisweiler
, Editions d’art Monelle Hayot, Paris, 1983, p. 162).

A preparatory drawing of this model is preserved at the Musée des Arts Décoratifs (illustrated in P. Lemonnier, op. cit.
, p. 90) and may be by Daguerre. Working in close collaboration, Daguerre introduced Weisweiler to many of his most important clients among the French and foreign nobility, as well as the royal families of France, Russia, and Naples, and the future King George IV. Weisweiler remained active well into his later years, and his ties to Daguerre allowed him to continue working and exporting his work, thus sparing him the bankruptcy that befell many of his colleagues during the Revolution.

Comparative Bibliography:
-Patricia Lemonnier,Weisweiler
, Editions d’art Monelle Hayot, Paris, 1983.
-Philippe Jullian, The Louis XVI Style, Baschet et Cie, Paris, n.d., p. 88.
-Nicole de Reyniès, Le mobilier domestique. Vocabulaire Typologique, Imprimerie Nationale, Paris, 1987, ill. 4269.
-Souren Melikian et al., La Décoration. Vol. I, Hachette, Paris, 1963, p. 264.

In very fine condition, previously restored according to best practices.

Louis XVI–Directoire period, late 18th century.

Dimensions:
Height 80 cm
Diameter 40.5 cm


We handle shipping for you both within France and internationally. Shipping terms depend on your location. Contact us to find out the cost and arrange your delivery.
We ensure that special care is taken to provide packaging and protection tailored to your purchases.  

Since only a portion of our furniture and art objects is visible on Proantic, we invite you to follow our Instagram account, where you can see all our new arrivals displayed in real-life settings: @monantiquaire

All our Furniture and Art Objects
On our Website:
MON ANTIQUAIRE
We look forward to your visit,

Géraldine Buisson & Manuel Keepfer