Mahogany and Ormolu Centre Table in the manner of Weisweiler
Mahogany and Ormolu Centre Table in the manner of Weisweiler
Mahogany and Ormolu Centre Table in the manner of Weisweiler

Attributed to WRIGHT AND MANSFIELD (worked c.1860-1880)

Mahogany and Ormolu Centre Table in the manner of Weisweiler

c. 1870 England

Offered by Butchoff

Price Upon Request
Request Information Call Dealer
Listing Information
A Centre Table in the Manner of Adam Weisweiler Firmly attributed to Wright and Mansfield

Constructed using very fine matched mahogany veneers and gilded bronze; of circular form, having four pairs of cluster faux bamboo column legs, with ringed capitols over, and tapering toupie castor shod feet dressed with a conjoining looped 'X' form stretcher, emanating from a central circular boss supporting the bronze edged platform; the radially laid veneers to the top have a central circular reserve.
Circa 1870
Weisweiler's work is located at various international museums, such as the Metropolitan Museum of Art, Getty Museum, Victoria and Albert Museum, Royal Collection, The Wallace Collection, and the Louvre.
Alfred Thomas Wright first came to notice in 1856 as a junior partner in the firm of Samuel Hanson, a cabinetmaker and upholsterer trading from 16 John Street (later Great Portland Street), and 106 Oxford Street. The company was joined by George Needham Mansfield, son of the old established builders and decorators George Mansfield, of Grays Inn Lane and Wigmore Street, and the firm is recorded in Post Office journals as Hanson, Wright and Mansfield at the above addresses until 1861, when Hanson died. Thereafter the company traded as Wright and Mansfield, and swiftly rose to prominence after their exhibits at the 1862 International Exhibition held in London, on the site of what is now the Natural History Museum, South Kensington. Attended by over six million visitors, despite the death in 1861 of Prince Albert, and the absence of Queen Victoria, who was still in mourning. The Art Journal Catalogue of the International Exhibition, and J.B. Waring's 'Masterpieces of Industrial Art and Sculpture' of 1862 record their work, and two bookcases, and a fireplace constructed of 'Ginn' or 'Gean' wood, with inset Wedgwood plaques were illustrated, along with a piano, painted in the manner of George Brookshaw, and commented upon and favourably compared to the Eighteenth Century work of 'Adelphi' Adams. This piece was recently in our possession.

The progress and incredible quality presented by the exhibitors occasioned Eugene Rouher, the prominent French statesman, after the exhibition to form a committee, taking as a premise 'the results of the Exposition prove, that if rapid progress is not made in France, we will quickly be outstripped by our rivals'. At the 1867 Paris Universelle Exposition, a remarkable satinwood, marquetry, bronze and Wedgwood mounted cabinet won a Gold medal, the only time such an honour was bestowed upon an English cabinet maker, by the judges, presided over by M. du Sommerard director of the Cluny Museum, and M Wilkinson, Administrator de Mobilier de la Courrone. The Gold medal was presented personally to Wright & Mansfield by the Emperor Napoleon the 3rd. The cabinet was purchased by the South Kensington Museum (later the Victoria and Albert Museum) for the extraordinary sum, in those days, of £800. It remains in their possession today. Their showing at the 1876 Philadelphia Centennial Exhibition attracted wide admiration, and was most favourably commented upon in the journals of the day.

Maurice Segoura's 'Weisweiler', published by Editions d'art Monelle Hayot Vilo, Paris 1983 illustrates the source image of our table on page 94
Born in Neuwied, and believed to have served his apprenticeship under the tutelage of one the greatest of all German cabinet makers, David Roentgen, from whom he incorporated the fashionable combination of brass and mahogany, each counterpointing the other. He established himself at 67 Rue du Faubourg-Sainte-Antoine in the reign of Louis XVI, obtaining Royal Commissions from the Queen for the Chateau St. Cloud. Madame de Pompadour and her brother, the Marquis de Marigny, encouraged his adoption of the restrained gout anglais. Features that were repeated in his oeuvres were the loop form stretcher, and the cluster colonettes.
Height 28.50 inch (72.39 cm)
Diameter 36.00 inch (91.44 cm)
Stock Code
Mahogany, ormolu

154 Kensington Church Street
W8 4BN

Contact Details
+44 (0)20 7221 8174
Email Dealer More Contact Details
Opening Hours
View Dealer Location
Member Since 2006
Members of
View Full Details