An important Italian carrara marble dressing table attributed to Gennaro di Luca, Tuscan circa 1829

with a pierced arched top carved with flower-filled cornucopia and a wreath surmounted by feathers, flanked by a dove above a rectangular plate flanked by a female caryatid, the concave-fronted table with a circular basin surmounted by a greyhound head flanked by a flower-filled tazza on a plinth with four neo-classical vases at  each corner on eight Corinthian columns on a further central acanthus carved knopped support, on a rectangular concave-fronted platform base

Enrico Colle, Il Mobile dell'Ottocento in Italia, Milan, 2007, No. 4, p. 55, illustrated.
Daniele Di Castro, Civiltà dell'Ottocento. Le arti a Napoli dai Borbone ai Savoia, catalogue of the exhibition, Naples, 1997, p. 43.

This piece is in overall good conserved condition. It is a rare piece with beautiful carving and is of outstanding design. There are several chips, marks and scratches and restorations to the toilet-table commensurate with age and use. The table top has restored breaks as visible in thecatalogue photograph. The base : old marks and scratches and some stains overall. One superficial crack from the front to the middle (approx). The edges of the base with several chips overall. The back right angle with a chip. The support columns: The ten columns are in overall good condition with minor chips to the upper sections. Three square bases with traces of old restorations to the angles. Two vases have had their bodies restored. One cover possibly replaced ; (this vase has a pencil inscription : Arturo Innocenti, Pisa, 1862). - The dog : the two front legs restored, one chip to an ear, the mouth restored. - Upper part (minor and frame): The frame of the mirror with traces of previous restorations and some yellow stains overall. Total height: Length of mirror and table: 202cm. high, 151cm. wide; 6ft. 7in., 4ft. 11in. Mirror & our frame: 123.5cm. high, 83.5cm. wide, 34cm. deep; 4ft.½in., 2ft.8¼in., 1ft.1in. Mirror only, with border: 70cm. high, 51.5cm. wide; 2ft. 3in., 1ft. 7¾in.
"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:
Electa Napoli-Civiltà dell'Ottocento. Le arti figurative, 1997, p. 144 for a similar Tuscan console circa 1829, for Francesco I, Palazzo Reale, Caserta,Naples, see detail p. 212, reproduced here in fig.1. 
H. D. Molesworth, Meubles d'art, Lausanne 1972, p.247 fig. 411.
Chiara Garzya, Interni Neoclassici a Napoli, Naples 1978, Tav. XXIII.

An unseen document in the Napoli State (Archives Casa Reale Administrativa, Inv. Tappezzeria 42, doc 26), records a similar exceptional piece now in Caserta, which was made for Francesco I by Pantaleone del Nero, who had a marble and sculpture atelier in Carrare. At the end of the 1820's, he received a payment from the architect Antonio Niccolini, for a group of marble statues, executed by his brother Giuseppe, for the Villa Floridiana in Naples.

It is possible that the offered piece like the one at Caserta was executed by Giussepe del Nero, or at least he collaborated on its execution. After the King's death in September 1829, and on upon the orders of Niccolini, the king's table were delivered to Caserta. It's interesting to note that some stylistic details and decorative motifs on the offered piece, can be found on chimney-pieces designed by Niccolini, also of Tuscan origin. It is very probable that Niccolini collaborated in the creation of these tables.

Antonio Niccolini (San Miniato al Monte, Florence-1772-1850:
He was well known in Naples, where he executed a number of  projects for villas and Palazzos including the San Carlo theatre. His clients included the marquise Di Gallo, Marzio Mastrilli and he was directly involved in the construction of the Villa Floridiana and Villa Lucia. In 1826, he worked in the Palazzo Partana and was involved in the decoration of  the rooms at  Capodimonte, including the design of chimney-pieces and the interior decoration. His name is also very much associated with the work at the Royal Palace in Naples.