An Italian pewter and brass inlaid ebony, kingwood, fruitwood and marquetry centre table attributed to Gabriele Capello, the marquetry panel probably by Luigi Ravelli, Piedmontese second quarter 19th century

the top with a medallion with an architectural view with figures, within a deep ebony and brass inlaid border decorated with anthemions and scrolling foliage on a spirally-twist baluster pedestal and brass inlaid faceted section on a gadrooned kingwood base on four inward scrolled feet 

In overall very good conserved condition and ready to be placed. Colour less orange with more contrast and more attractive than in the catalogue photograph. Unusual design with very attractive detail to marquetry. Very minor restorations to the inlay and veneers. Old very minor repair to the top of the baluster support.
"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:
R. Antonetto, Gabriele Capello detto Moncalvo ebanista di due, Turin, 2004.
E.Colle, Il Mobile Impero in Italia, arredi e decorazioni d'interni dal 1800 al 1843, Milan, 1998, p. 370-373.
Enrico Colle, Il Mobile dell’Ottocento in Italia, Arredi e Decorazioni d’interni dal 1815 al 1900, Milan, 2007, pp. 102-103, no, 25.
Alvar Gonzales Palacios, Il Gusto dei Principi, Milan, 1993, vol. II, pp. pp. 336-337, plates 663-665, p. 338, plates 667-668, pp. 340-341, plates 670-671;
Paolo San Martino, Scena e capriccio nelle tarsie del laboratorio di Ignazio e Luigi Ravelli ebanisti, 1800 circa, in "Studi Piemontesi", n. 26 (1997), pp.383-390;
Enrico Colle, Il mobile neoclassico in Italia. Arredi e decorazioni d'interni dal 1775 al 1800, Milano, 2005, pp. 426-427.

This exquisite and rare centre table can be attributed to the Piedmontese cabinet-maker Gabriele Capello (1823-1873) also known as il Moncalvo, probably after designs by Pelagio Palagi (1775-1860), with the marquetry panel probably by Luigi Ravelli (1776-1858).

Capello was an artist whose work was of exceptional quality and inventiveness and his marquetry technique was very sophisticated creating a smooth, uniform surface, which enhanced the ingenious contrast of dark and light materials. A combination of these elements can clearly be seen on this lot, as well as motifs typical of his oeuvre incorporating flowerheads, foliage and stylised anthemia inspired by the designs of Pelagio Palagi (1775- 1860), with whom he collaborated profusely. Colle, op. cit., Il Mobile dell’Ottocento in Italia, p. 102-103, no. 25, illustrates a guéridon table by Capello inlaid in ivory and also another guéridon table by the same maker (sold in these Rooms, lot 275, 13th December 2000 (£110,000)).

The use of  this most evocative intarsia panel with an architectural view in the centre of the top by Ravelli, is unusual in Capello’s work, as well as the use of brass inlays, which make this table particularly interesting.These highly evocative trompe l'oeil inlaid panels depict extraordinary imaginary architectural fantasies. The source of inspiration for the interior scene, characterized by a complex series of overlapping perspectives, is Piranesi's "Carceri d'invenzione" ('Imaginary Prisons') of 1750. The inlay technique used for the panel incorporates many different types of wood, carefully matched in order to confer on the whole composition an extraordinary sense of depth and soulfulness. The illusion of the shading is created by the chromatic modulation of the colours being chosen and is therefore only partially due to the carved details. Considerable skill was needed to select the appropriate grain and figure from the many different veneers used to create these works, in order to achieve the subtle variations of texture in the finished picture. Ravelli has also used controlled burning to produce the effect of shade. This was done by scorching areas of veneer in a tray of hot silver sand. Several such marquetry panels by Luigi Ravelli and his father Ignazio are known and most of them are exhibited in museums.  Panels of this type were also used by the Ravellis to be inset in accomplished pieces of furniture. Furniture signed and attributed to Ignazio Ravelli include a dem-ilune commode in the Museo Civico di Arte Antico in Turin and two examples in the Victoria and Albert Museum, London).

A set of four marquetry panels by Ravelli, was sold in these Rooms, Treasures, Pricely Taste, 4th July 2012, lot 36 (£100,000)

Gabrielle Capello (1823-1873):
Capello’s inventive furniture styles were very eclectic and his commissions varied and ranged from the Etruscan to the neo-Gothic. He worked for both King Carlo Alberto of Sardinia and his son King Vittorio Emanuelle II, King of Italy from 1861, who made him Cavaliere dell'Ordine Mauriziano. Together with Palagi, he was responsible for several commissions for Royal residences, namely at Castello di Racconigi, Palazzo Reale di Turin, Castello di Moncalieri, Castello di Polenzo and Palazzo Reale di Genoa. He exhibited in London’s Great Exhibition of 1851, where he received a Gold Medal.

Filippo Pelagio Palagi (Bologna 1775-Turin 1860):
He was born in Bologna and trained in Rome, where he worked upon the redecoration of the Quirinale Palace in Rome for Napoleon in 1812. He settled in Turin in 1832 and was in charge of the redecoration of the Royal palaces including Racconigi and was also made director of the school for design in 1834. He practised a wide range of furniture styles from the Etruscan to the neo-Gothic. 

Luigi Ravelli (1776-1858):
Luigi Ravelli and his father Ignazio (Vercelli, 1756-1836) are considered among the most important neo-classical cabinet-makers and specialist marqueteurs working between from the late 18th to the early 19th century. From 1783 onwards, Ignazio Ravelli enjoyed royal patronage in Turin, the capital of the Kingdom of Sardinia. Ignazio was a specialist in inlay, who began his professional life copying the decoration on the Renaissance choir stalls in the church of S. Andrea in Vercelli, having noted that King Vittorio Amedeo III (reigned 1773-96) was particularly impressed by them. In 1791, Ignazio Ravelli was awarded by King Amedeo III, the so-called "Patente Regia", which entitled him to an annual salary. His son Luigi also produced work in a similar tradition to that of his father. Little further is known about the Ravellis, although G.B. De Gregory, in his Storia della vercellese letteratura e arti, Turin, 1820, pp. 385-6, notes how one of their specialities was 'quadri in tarcia[sic]'. Ignazio Ravelli was also recorded as supplying works to King Vittorio Amedeo III and was noted in the royal account books for his 'tarsie architettoniche' (see González-Palacios, op. cit., vol. II, pp. 363-4).