Lot Essay
This monumental desk is without doubt the most important Maggiolini discovery in the last fifty years. Although there have certainly been others, none are comparable in terms of importance, richness, typology or size, and the lavish use of marquetry remains unprecedented in Maggiolini's oeuvre.
Some 2,000 drawings from Maggiolini's workshop are now preserved in the Raccolte d'Arte del Commune di Milano, among which are a number of preparatory drawings directly related to the marquetry inlay of this extraordinary library desk. Sadly much of the documented evidence relating to the activities of the workshop were destroyed in 1834 on the death of Maggiolini's son, Carlo Francesco1. However because their importance was already recognised, some drawings were saved from the ashes; amongst which were sketches by Traballesi, Albertolli and Appiani. Unfortunately the accounts of both the Habsburg and the Napoleonic courts, for which he worked during his prolific career, have also vanished.
WILLIAM JONES
This desk is first recorded in the possession of the celebrated connoisseur William Jones, in 1852. Almost certainly acquired during his tour of Italy between 1833-43, the desk was placed in the Library of his London house, 19 Rutland Gate. Unfortunately, however financial difficulties prompted Jones' descision to leave London and return to his seat, Clytha Park in Monmouthshire, and as a result Christie's was instructed to sell his collection on 8 May 18522. Principally comprised of Old Master Pictures also acquired during his stay in Italy, it included works then given to such masters as Guercino, Tiepolo, Tintoretto, Leandro Bassano, Zuccarelli, Georgione, Giotto and Ghirlandaio. The desk, which, owing to its large proportions, had to be viewed along with Francis Danby's picture of the Deluge in situ at Rutland Gate, was the only piece of furniture in the sale. Included as the last lot, it was described as
by Magolini
'126 A SPLENDID LIBRARY TABLE, OF THE FINEST ITALIAN MARQUETERIE, of tulip and walnutwood, with centres and borders of arabesques, beautifully executed on the tops and the four sides, with numerous drawers; and raised cabinet on either side'
The handwritten anotation 'by Magolini' in the auctioneers book is unprecedented for a piece of furniture at that time. It would, therefore suggest that conclusive proof of Maggiolini's authorship arose at the time of the sale.
Both the Maggiolini desk and Danby's Deluge - the only two lots to be viewed at Rutland Gate - remained unsold, and as the latter, now at the Tate, is known to have returned to Clytha, it seems more than likely that the Maggiolini followed the same route. That this library table was acquired by John Patrick, 3rd Marquis of Bute, for Cardiff Castle, next door to Clytha, would appear to confirm this speculation.
THE COMMISSION
Any hypothesis concerning the commission of this masterpiece hinges on its actual use. It is not a grand faâde for an Emperor but a majestic, functional desk with two removable superstructures for large documents or official papers. This implies that it was designed for a specific purpose, such as a Chancellery or ministerial office. Indeed the shelves of the two superstructures are not high enough for books, and are much more likely to have served for incoming papers on one side and outgoing on the other, as an analysis of the Habsburg bureaucratic procedures suggests. The hinged writing-sides which surmount each superstructure were probably used by assistants or secretaries, who were dictated to by the official seated at the desk3. The gilt-bronze handles are not only decorative but fundamental for removing the shelves to fill with documents, which were then returned to the desk, where they were transcribed, copied and filed, and removed again. Moreover, the desk is veneered and inlaid beneath the superstructures so that when removed, the desk remains both lavish and presentable.
The carcase itself contains thirty drawers, all of which are fitted with locks, and are centred by a front panel enclosing a small cupboard. The seven large frieze-drawers under the top, once extracted, conceal six hidden drawers which pull down from above the drawer space. There are twelve further secret drawers4 to the sides of each of the drawers which can be operated by a spring mechanism once the drawer has been removed. The drawers number forty-eight in all, confirming again the importance of this commission and its ultimate use.
Although there is a design for a desk with a superstructure which remains in the Civiche Raccolte d'Art, Milan, it is less momumental in size and detail. However, significant features such as the veneered walnut on the small drawers, the gilt-bronze mounts and the secret drawers to the top, are all shared with the Bute desk.
Although most of the preparatory drawings for the Bute desk which would due to the importance of the commission, certainly have been numerous, have unfortunately been lost, seven drawings have survived. These are, without doubt, sketches from Maggiolini's workshop. Of these, five are stylistically attributable to the painter and decorator Giuseppe Levati. These seven full scale cartoons of which the workshop would have made 'working'-copies, correspond directly with several of the marqutrey panels on the desk. Two of these cartoons depict the allegories of Justice and Prudence for the end panels of the desk, without the floral border, while another depicts the motif on the hinged writing-surface on top of the superstructure. The three further drawings show, respectively, the first part of the frieze design inlaid on the front panels of the top drawers (fig. 5), the vine trail inlaid on the superstructures (fig. 6) and a small section of the entwined leaves which are used as banding on the top surface of the desk.
It is the drawings and the iconography of the end-panels, however, the allegories of Justice and Prudence, that reveal the identity of the desk's patron, and the name which emerges concurs directly with the hypothesis regarding the functions of this desk. On the reverse of each drawing, down the left margin, are two inscriptions, written in the same hand and the same ink5. The first, written on the back of the drawing of 'Prudence' is 'Tav. [ol] o W.' The other, on the back of 'Justice' reads: 'Li due Fianchi del Tavolo W'. Although the first is enigmatic, the second can be clearly identified. Such inscriptions on the reverse of the sketches are characteristic of Maggiolini's oeuvre, and he often inscribed both the name of the commission and the type of object aswell as, on rare occassions, the date. In this case the inscription refers directly to the Bute desk, 'Li due Fianchi del Tavolo', meaning 'the two sides of the desk' as Tavolo in late 18th Century Milanese implied desk rather than table as it is today. The initial 'W' regarded as that of the patron, and this is borne out by another inscription 'La facciata della commode Ciceri, found on the sketch for a marquetry panel of the commode executed for Count Ciceri, another of Maggiolini's principal clients.
COUNT JOHAN JOSEPH WILCZEK
There is only one possible name which could correspond to the letter found on the drawings, Count Johan Joseph Von Wilczek (1738-1819), who was Plenipotentiary Minister for Lombardy under Joseph II and Leopold II of Austria. This illustrious minister is the obvious recipient of a piece of such magnitude in Lombardy during the latter part of the 18th Century, and certainly the use of an initial suggests that Maggiolini was being discreet about this important commission. Unfortunately no inventories for the Plenipotentiary Minister's Palace survive and this desk does not feature in the inventories of the Court furniture on loan to the Ministry6. Knowing a little of the public finances of the time, it is more than likely, however, that this luxurious commission was paid for by the Ministry itself, rather than the "Regia Camera" or Royal Chamber.
A connoisseur and celebrated patron of the arts, Count Wilczek is known to have patronised Maggiolini. A commode by Maggiolini, almost certainly executed for the Minister and now in a private collection7, is inlaid with the initial 'W' within a rich cornucopia8 on its sides. It is interesting to note that the Archduke Ferdinand, Wilczek's only superior in rank in Lombardy, was also one of Maggiolini's principal patrons and it was he who commissioned the incredible 'scrittoio', consequently given to Maria Teresa of Austria and now in the Bundessamlung Alter Stilmöbel9 in Vienna. Archduke Ferdinand also commissioned several further pieces as gifts10.
In the light of this, it is more than probable that the Plenipotentiary Minister would have commissioned a large desk from Giuseppe Maggiolini commensurate with his status, combining both practical needs with a desire to reinforce his position. Answering to the Viennese Court, Wilczek was the sole person responsible for the political and administrative management of the Duchy of Lombardy, and was directly in charge of the affairs of the Chancellery11, which is recorded by the chronicles of the time.
A commission by a person of Wilczek's status is also confirmed indirectly by the iconography of the marquetry panels. Thus, the allegory of 'Giustizia' or Justice to one end includes a sword crowned by the 'corona ducale d'oro', emblematic of Lombardy, while the other end represents 'Prudenza' or Prudence. This same crowned sword recurs, alongside a symbol of unity, on the drawer-fronts of the frieze. It is unfortunate that there is no no longer a preparatory drawing for the panel depicting 'Good governement', which is symbolic of Austria's rule over Lombardy.
The Wilczek hypothesis thus presented suggests that the desk was commissioned between 1782, when Count Wilczek acceded to the role as Plenipotentiary and 1796, when Wilczek, escaped from Milan with the Royal Family and their court, following the French Invasion.
Although lack of documentry evidence prevents any certain knowledge as to the date of manufacture, this desk can confidently be attributed to circa 1784 on stylistic grounds. In particular, it shares several important and distinctive features with two commodes, sadly now both lost. The first, executed in 1784 for the Marquess Domenico Serra di Genova, was considered a masterpiece of Maggiolini's oeuvre and was described as a 'Stupendissimo como fatto per un gran signore genovese dal Signor Maggiolini'12 when exhibited at the Palazzo Borromeo in Milan. As the preparatory drawing, dated 1784, reveals, the Serra di Genova commode displays virtually identical channelled bracket angles terminating in inlaid scrolls which join the canted angle pilasters, while the stamped copper mounts of the flutes on the Bute desk. Similarly, the floral mount which completes the decorative scheme between the bracket and canted angles appears on the 1784 sketch.
The second sketch for a commode likewise displays the identical chain- motif to the Bute desk, as well as the ornamental rosette-mount to the plinth of the pilaster. Though this drawing is not dated, stylistically it must be of the same date as the Serra di Genova sketch as although Maggiolini certainly repeated decorative motifs throughout his career, the proximities of both commodes and the Bute desk are so close that they must date from the same period.
In conclusion, the Bute desk belongs stylistically to circa 1784, and this concurs directly with Count Wilczek's appointment in 1782 as Plenipotentiary Minister in Lombardy for the Austrian Governement. One imagines that such a megalomaniac commission could only have arisen in the early years of his nomination!
Footnotes
1 Giacomo Antonio Mezzanzanica, Genio o Lavoro, Biografia e breve storia delle opere dei celebre intarsiatori Giuseppe e Carlo Francesco Maggiolini, Milan, 1878, p. 67
2 Sold in these Rooms, Catalogue of the Important Collection of Capital Pictures, by Italian, Flemish and English Masters formed chiefly during a long residence in Italy by William Jones Esq. of Clytha, 1852, p.16
3 Interestingly, the hinged writing-slides are very slightly larger than the official paper used in Lombardy by the Habsburg administration
4 Originally eighteen, these six further secret drawers now missing, were situated between the existing drawers and the kneehole
5 The calligraphy used is the identical one used by Giuseppe Maggiolini and known on hundreds of examples of the remaining collection of designs
6 In the archives of the Milan State, Fondi Camerali, parte antica, Busta 204, is conserved a State inventory of the furniture given on loan to the ministry: 'Inventario dei mobili di Ragione della Regia Ducal Camera presso il palazzo del Conte Ministro Plenipotenziario' in which it is described that a major part of the furnishing that is found in the palace is the property of the Minister himself and is not listed in the inventory from the Regia Camera
7 Among the art books dedicated to Count Wilczek; Giocondo Albertolli, Alcune decorazioni di nobili sale ed altri ornati di Gioconda Albertolli Professore nella Reale Accademia di Delle Arti in Milano, Milan, 1878
8 Giuseppe Beretti, Giuseppe e Carlo Francesco Maggiolini, l'Officina del Neoclassicismo, Milan, 1994, p. 94
9 Giuseppe Beretti, Op. Cit., 1994, p. 42
10 Giacomo Antonio Mezzanzanica, Op. Cit., p. 49
11 Giuseppe Gorani, Storia di Milano (1700-1796), Milan, 1989, p. 251
12 Giacomo Antonio Mezzanzanica, Op. Cit., p. 54
We are extremely grateful to Dottore Giuseppe Beretti for his help in preparing this catalogue entry.
Some 2,000 drawings from Maggiolini's workshop are now preserved in the Raccolte d'Arte del Commune di Milano, among which are a number of preparatory drawings directly related to the marquetry inlay of this extraordinary library desk. Sadly much of the documented evidence relating to the activities of the workshop were destroyed in 1834 on the death of Maggiolini's son, Carlo Francesco1. However because their importance was already recognised, some drawings were saved from the ashes; amongst which were sketches by Traballesi, Albertolli and Appiani. Unfortunately the accounts of both the Habsburg and the Napoleonic courts, for which he worked during his prolific career, have also vanished.
WILLIAM JONES
This desk is first recorded in the possession of the celebrated connoisseur William Jones, in 1852. Almost certainly acquired during his tour of Italy between 1833-43, the desk was placed in the Library of his London house, 19 Rutland Gate. Unfortunately, however financial difficulties prompted Jones' descision to leave London and return to his seat, Clytha Park in Monmouthshire, and as a result Christie's was instructed to sell his collection on 8 May 18522. Principally comprised of Old Master Pictures also acquired during his stay in Italy, it included works then given to such masters as Guercino, Tiepolo, Tintoretto, Leandro Bassano, Zuccarelli, Georgione, Giotto and Ghirlandaio. The desk, which, owing to its large proportions, had to be viewed along with Francis Danby's picture of the Deluge in situ at Rutland Gate, was the only piece of furniture in the sale. Included as the last lot, it was described as
by Magolini
'126 A SPLENDID LIBRARY TABLE, OF THE FINEST ITALIAN MARQUETERIE, of tulip and walnutwood, with centres and borders of arabesques, beautifully executed on the tops and the four sides, with numerous drawers; and raised cabinet on either side'
The handwritten anotation 'by Magolini' in the auctioneers book is unprecedented for a piece of furniture at that time. It would, therefore suggest that conclusive proof of Maggiolini's authorship arose at the time of the sale.
Both the Maggiolini desk and Danby's Deluge - the only two lots to be viewed at Rutland Gate - remained unsold, and as the latter, now at the Tate, is known to have returned to Clytha, it seems more than likely that the Maggiolini followed the same route. That this library table was acquired by John Patrick, 3rd Marquis of Bute, for Cardiff Castle, next door to Clytha, would appear to confirm this speculation.
THE COMMISSION
Any hypothesis concerning the commission of this masterpiece hinges on its actual use. It is not a grand faâde for an Emperor but a majestic, functional desk with two removable superstructures for large documents or official papers. This implies that it was designed for a specific purpose, such as a Chancellery or ministerial office. Indeed the shelves of the two superstructures are not high enough for books, and are much more likely to have served for incoming papers on one side and outgoing on the other, as an analysis of the Habsburg bureaucratic procedures suggests. The hinged writing-sides which surmount each superstructure were probably used by assistants or secretaries, who were dictated to by the official seated at the desk3. The gilt-bronze handles are not only decorative but fundamental for removing the shelves to fill with documents, which were then returned to the desk, where they were transcribed, copied and filed, and removed again. Moreover, the desk is veneered and inlaid beneath the superstructures so that when removed, the desk remains both lavish and presentable.
The carcase itself contains thirty drawers, all of which are fitted with locks, and are centred by a front panel enclosing a small cupboard. The seven large frieze-drawers under the top, once extracted, conceal six hidden drawers which pull down from above the drawer space. There are twelve further secret drawers4 to the sides of each of the drawers which can be operated by a spring mechanism once the drawer has been removed. The drawers number forty-eight in all, confirming again the importance of this commission and its ultimate use.
Although there is a design for a desk with a superstructure which remains in the Civiche Raccolte d'Art, Milan, it is less momumental in size and detail. However, significant features such as the veneered walnut on the small drawers, the gilt-bronze mounts and the secret drawers to the top, are all shared with the Bute desk.
Although most of the preparatory drawings for the Bute desk which would due to the importance of the commission, certainly have been numerous, have unfortunately been lost, seven drawings have survived. These are, without doubt, sketches from Maggiolini's workshop. Of these, five are stylistically attributable to the painter and decorator Giuseppe Levati. These seven full scale cartoons of which the workshop would have made 'working'-copies, correspond directly with several of the marqutrey panels on the desk. Two of these cartoons depict the allegories of Justice and Prudence for the end panels of the desk, without the floral border, while another depicts the motif on the hinged writing-surface on top of the superstructure. The three further drawings show, respectively, the first part of the frieze design inlaid on the front panels of the top drawers (fig. 5), the vine trail inlaid on the superstructures (fig. 6) and a small section of the entwined leaves which are used as banding on the top surface of the desk.
It is the drawings and the iconography of the end-panels, however, the allegories of Justice and Prudence, that reveal the identity of the desk's patron, and the name which emerges concurs directly with the hypothesis regarding the functions of this desk. On the reverse of each drawing, down the left margin, are two inscriptions, written in the same hand and the same ink5. The first, written on the back of the drawing of 'Prudence' is 'Tav. [ol] o W.' The other, on the back of 'Justice' reads: 'Li due Fianchi del Tavolo W'. Although the first is enigmatic, the second can be clearly identified. Such inscriptions on the reverse of the sketches are characteristic of Maggiolini's oeuvre, and he often inscribed both the name of the commission and the type of object aswell as, on rare occassions, the date. In this case the inscription refers directly to the Bute desk, 'Li due Fianchi del Tavolo', meaning 'the two sides of the desk' as Tavolo in late 18th Century Milanese implied desk rather than table as it is today. The initial 'W' regarded as that of the patron, and this is borne out by another inscription 'La facciata della commode Ciceri, found on the sketch for a marquetry panel of the commode executed for Count Ciceri, another of Maggiolini's principal clients.
COUNT JOHAN JOSEPH WILCZEK
There is only one possible name which could correspond to the letter found on the drawings, Count Johan Joseph Von Wilczek (1738-1819), who was Plenipotentiary Minister for Lombardy under Joseph II and Leopold II of Austria. This illustrious minister is the obvious recipient of a piece of such magnitude in Lombardy during the latter part of the 18th Century, and certainly the use of an initial suggests that Maggiolini was being discreet about this important commission. Unfortunately no inventories for the Plenipotentiary Minister's Palace survive and this desk does not feature in the inventories of the Court furniture on loan to the Ministry6. Knowing a little of the public finances of the time, it is more than likely, however, that this luxurious commission was paid for by the Ministry itself, rather than the "Regia Camera" or Royal Chamber.
A connoisseur and celebrated patron of the arts, Count Wilczek is known to have patronised Maggiolini. A commode by Maggiolini, almost certainly executed for the Minister and now in a private collection7, is inlaid with the initial 'W' within a rich cornucopia8 on its sides. It is interesting to note that the Archduke Ferdinand, Wilczek's only superior in rank in Lombardy, was also one of Maggiolini's principal patrons and it was he who commissioned the incredible 'scrittoio', consequently given to Maria Teresa of Austria and now in the Bundessamlung Alter Stilmöbel9 in Vienna. Archduke Ferdinand also commissioned several further pieces as gifts10.
In the light of this, it is more than probable that the Plenipotentiary Minister would have commissioned a large desk from Giuseppe Maggiolini commensurate with his status, combining both practical needs with a desire to reinforce his position. Answering to the Viennese Court, Wilczek was the sole person responsible for the political and administrative management of the Duchy of Lombardy, and was directly in charge of the affairs of the Chancellery11, which is recorded by the chronicles of the time.
A commission by a person of Wilczek's status is also confirmed indirectly by the iconography of the marquetry panels. Thus, the allegory of 'Giustizia' or Justice to one end includes a sword crowned by the 'corona ducale d'oro', emblematic of Lombardy, while the other end represents 'Prudenza' or Prudence. This same crowned sword recurs, alongside a symbol of unity, on the drawer-fronts of the frieze. It is unfortunate that there is no no longer a preparatory drawing for the panel depicting 'Good governement', which is symbolic of Austria's rule over Lombardy.
The Wilczek hypothesis thus presented suggests that the desk was commissioned between 1782, when Count Wilczek acceded to the role as Plenipotentiary and 1796, when Wilczek, escaped from Milan with the Royal Family and their court, following the French Invasion.
Although lack of documentry evidence prevents any certain knowledge as to the date of manufacture, this desk can confidently be attributed to circa 1784 on stylistic grounds. In particular, it shares several important and distinctive features with two commodes, sadly now both lost. The first, executed in 1784 for the Marquess Domenico Serra di Genova, was considered a masterpiece of Maggiolini's oeuvre and was described as a 'Stupendissimo como fatto per un gran signore genovese dal Signor Maggiolini'12 when exhibited at the Palazzo Borromeo in Milan. As the preparatory drawing, dated 1784, reveals, the Serra di Genova commode displays virtually identical channelled bracket angles terminating in inlaid scrolls which join the canted angle pilasters, while the stamped copper mounts of the flutes on the Bute desk. Similarly, the floral mount which completes the decorative scheme between the bracket and canted angles appears on the 1784 sketch.
The second sketch for a commode likewise displays the identical chain- motif to the Bute desk, as well as the ornamental rosette-mount to the plinth of the pilaster. Though this drawing is not dated, stylistically it must be of the same date as the Serra di Genova sketch as although Maggiolini certainly repeated decorative motifs throughout his career, the proximities of both commodes and the Bute desk are so close that they must date from the same period.
In conclusion, the Bute desk belongs stylistically to circa 1784, and this concurs directly with Count Wilczek's appointment in 1782 as Plenipotentiary Minister in Lombardy for the Austrian Governement. One imagines that such a megalomaniac commission could only have arisen in the early years of his nomination!
Footnotes
1 Giacomo Antonio Mezzanzanica, Genio o Lavoro, Biografia e breve storia delle opere dei celebre intarsiatori Giuseppe e Carlo Francesco Maggiolini, Milan, 1878, p. 67
2 Sold in these Rooms, Catalogue of the Important Collection of Capital Pictures, by Italian, Flemish and English Masters formed chiefly during a long residence in Italy by William Jones Esq. of Clytha, 1852, p.16
3 Interestingly, the hinged writing-slides are very slightly larger than the official paper used in Lombardy by the Habsburg administration
4 Originally eighteen, these six further secret drawers now missing, were situated between the existing drawers and the kneehole
5 The calligraphy used is the identical one used by Giuseppe Maggiolini and known on hundreds of examples of the remaining collection of designs
6 In the archives of the Milan State, Fondi Camerali, parte antica, Busta 204, is conserved a State inventory of the furniture given on loan to the ministry: 'Inventario dei mobili di Ragione della Regia Ducal Camera presso il palazzo del Conte Ministro Plenipotenziario' in which it is described that a major part of the furnishing that is found in the palace is the property of the Minister himself and is not listed in the inventory from the Regia Camera
7 Among the art books dedicated to Count Wilczek; Giocondo Albertolli, Alcune decorazioni di nobili sale ed altri ornati di Gioconda Albertolli Professore nella Reale Accademia di Delle Arti in Milano, Milan, 1878
8 Giuseppe Beretti, Giuseppe e Carlo Francesco Maggiolini, l'Officina del Neoclassicismo, Milan, 1994, p. 94
9 Giuseppe Beretti, Op. Cit., 1994, p. 42
10 Giacomo Antonio Mezzanzanica, Op. Cit., p. 49
11 Giuseppe Gorani, Storia di Milano (1700-1796), Milan, 1989, p. 251
12 Giacomo Antonio Mezzanzanica, Op. Cit., p. 54
We are extremely grateful to Dottore Giuseppe Beretti for his help in preparing this catalogue entry.