Antique Louis XVI Secretary - Jean Henri Riesener

Antique Louis XVI Secretary

Circa 1783 ,

Jean Henri Riesener (French, 1734–1806)
This Antique Louis XVI secretary is Oak veneered with ebony and black and gold Japanese lacquer, tulipwood, holly and black stained holly, amaranth, gilt-bronze mounts, white marble;

Dimensions: H. 57 x W. 43 x D. 16 in. (144.8 x 109.2 x 40.6 cm)

Ordered from Riesener together with a matching commode and encoignure (corner cabinet) for use in Queen Marie Antoinette's cabinet at Versailles in 1783, the secretary and the commode were sent several years later to the Château of Saint Cloud. With their Japanese black and gold lacquer panels and exquisite gilt-bronze mounts, the secretary and the commode, now also in the Museum's collection, are among the best known pieces of royal furniture outside France.

Based on their superb quality, the mounts have been attributed to Pierre Gouthière (1732–1813), the most famous Parisian bronzeworker of the late eighteenth century who became gilder to the king in 1767. Composed of intertwined garlands of naturalistic flowers that incorporate the queen's monogram MA in the center, the jewel-like quality is a triumph of prestidigitation. Unlike the ribbon-shaped handles on the front of the secretary that give access to the drawer in the frieze, those on the sides did not have a function and are purely decorative.

Jean-Henri Riesener's marriage to the widow of his former master, Jean-François Oeben, helped this poor German immigrant become one of the most celebrated of late eighteenth-century Paris. French guild regulations were carefully arranged to prevent foreign competition; thus, marriage into established families was an important way for foreigners to be accepted into the furniture-making community. Through his wife, Riesener became related to other prominent ébénistes such as Martin Carlin.

In 1769 Riesener began to supply the Furniture Warehouse of the Crown; five years later he received the official title of Cabinetmaker to the King. Almost immediately, he began supplying richly decorated pieces covered with mahogany veneers, floral marquetry, and gilt bronze mounts. Riesener was also known for his ingenious mechanical fittings, which allowed desk- and tabletops to be raised or lowered by a singled button. Commissions from Louis XVI, Marie-Antoinette and many noble families made him a wealthy man.

Riesener survived the French Revolution by removing royal emblems from furniture for the new régime. He always believed, however, that the monarchy would be reinstated at some point and used much of his remaining fortune to buy back his own masterpieces. He died in obscurity, political events having proved him wrong.

Antique Louis XV Style Writing Table - Gilles Joubert

Writing table (bureau plat), 1759

Gilles Joubert (French, ca. 1689–1775)
Red and gold japanning on oak, gilt-bronze mounts, leather top; H. 31 3/4 x W. 69 1/4 x D. 36 in. (80.6 x 175.9 x 91.4 cm)
Gift of Mr. and Mrs. Charles Wrightsman, 1973 (1973.315.1)

This writing table was delivered by Gilles Joubert on December 29, 1759 to the cabinet intérieur of King Louis XV at Versailles. This room, which served as a study, was part of the king's private apartment at the palace. The desk is veneered with European japanning, a varnish made in imitation of Asian and, in this case, Chinese red and gold lacquer.

Gilles Joubert b. 1689 Paris, d. 1775 Paris
furniture worker
French

A prolific craftsman, Gilles Joubert was the leading supplier of furniture to the French royal household of Louis XV for over twenty-five years, delivering over four thousand pieces ranging from simple bidets to richly ornamented desks and tables. He began supplying furniture to the royal Garde-Meuble in 1748, but it was not until he was seventy-four years old that he was given the title of ébéniste du roi (Cabinetmaker to the King).

The volume of Joubert's commissions was so great that he often subcontracted work to other ébénistes in order to keep up with demand. Between 1763 and 1773, he was especially busy delivering about 2200 pieces for use at court, including forty-four writing desks, more than five hundred commodes, over a thousand small tables, and five hundred bidets.

Much of Joubert's furniture was produced before the guild made it mandatory for makers to stamp their furniture, while most of his later work was produced for the court and therefore was exempt from this rule. As a result, scholars must identify his pieces mainly from the detailed descriptions in the inventory of the royal archives.

Antique Commode Louis XV Style - André-Charles Boulle Bombe Chest

Louis XV Antique Commode, ca. 1710–32

André-Charles Boulle (French, 1642–1732)

Walnut veneered Bombe chest with ebony and marquetry of engraved brass and tortoiseshell, gilt-bronze mounts, verd antique marble top; H. 34 1/2 x W. 50 1/2 x D. 24 3/4 in. (87.6 x 128.3 x 62.9 cm)

The Jack and Belle Linsky Collection, 1982 (1982.60.82)

This commode ( Antique bombe chest) is of the same design and construction as the pair that was made by Boulle for the bedchamber of Louis XIV at the Grand Trianon in 1708. Although this model was copied a number of times during the eighteenth and nineteenth centuries, this example appears to be an early version made in Boulle's own workshop. Appointed to the ébéniste du roi (royal cabinetmaker) in 1672, Boulle did not invent but perfected the marquetry technique of brass and tortoiseshell that has been named for him. So-called Boulle work is created by glueing together sheets of tortoiseshell and brass which are then cut according to the desired design. Once cut, the layers can be combined to form either a tortoiseshell ground inlaid with engraved brass or a brass ground inlaid with tortoiseshell, known as first part and counterpart respectively.

André-Charles Boulle was one of the first cabinetmakers to make effective use of gilt-bronze mounts. The mounts not only protect vulnerable parts of the carcass but also add a great deal of sculptural beauty to the piece. The three-dimensional acanthus-leaf scroll mount on the upper drawer beautifully echoes the two-dimensional design in the brass and tortoiseshell marquetry. Particularly noteworthy are the female figures at the corners, with their feathery matted wings contrasting with their highly burnished faces.

Louis XV Peonies Cabriolet Armchair - Louis Delanois

Louis XV Cabriolet Armchair

Circa 1760.

Dimensions : 90 H x 65 W x 51 D cm.

Original : Antiquarian – Paris.

The charm and originality of this small armchair « cabriolet » shows itself in many ways. The projection of the crossing in the back, the moulding that curves and counter curves to finish in supremely elegant flowers, and the robust carving and dynamic architectural « feel ».

The beautiful « coup de fouet » of the armrest support is certainly contributing to this fluid elegance. Although not stamped, it can be linked to the works of Louis Delanois or Pothier.

Antique Venetian Console Italian Classic Style furniture

Italian Console

Circa 1730 - 1745.

Dimensions : 87 H x 124 W x 51,5 D cm.

This magnificent Antique Venetian Console Italian Classic Style furniture three legged console is an exact copy of a model that exists as a pair.

One notices beyond measure the design has a special verve and equilibrium. An inspired carving of exquisite botanical motifs accompanies the vigorous lines happily. She comes to life with these triking features that can be a little exuberant and deeply mark the plane surface.

Antique Cross Armchair Directoire Style

Directoire Style armchair, circa 1795.

Dimensions : 90 h x 56 w x 47 d cm.

Original : Brussels antiquarian Belgium.

A magnificent Directoire Style armchair with splat with openwork star motif, whose highly varied carved decoration (palmettes, stars, lozenges, rosettes, fluting, water lilies, raies de cœur, etc.) allows for many colour combinations. The stiles are en crosse and the sabre legs, scrolled at the top, provide solidity in an otherwise airy construction.

Empire Style Chair and Armchair

Empire Style chair, circa 1810-1815.

Dimensions : 95 h x 52 w x 46 d cm.

This chair is typical of the Empire period in its water lilies in the form of rolled lotus leaves punctuating the ends of the slightly curved cresting rail. Below, the splat is sculpted with Empire rosettes and a sheaf of bound laurels. Its generous dimensions give it strength while its studied forms give it its elegance.

Empire Style Armchair, circa 1810-1815.

Dimensions : 95 h x 58 w x 52 d cm.

Of the same model as the previous chair, this armchair has all its qualities and generosity. It differs in its arm-rests, which very prettily continue the line of their curved supports, and are ornamented with a very fine sculpture of stylized lotus leaves.

Antique Regence Style Armchair

Outstanding armchair from the Regence period, around 1730.

Dimensions : 98 h x 64 w x 48 d cm.

Original : private collection - Liege area (Belgium).

It is a pleasure to see the front rail in crossbow form, the bow-shaped splat, the fine, gracious carving of shells, foliated scrolls and foliage, and above all the legs ending in scrolls. All this emphasises the very high quality of the original. This type of chair was used both as a armchair de cabinet (at a desk) and as a salon chair; the height of the seat is also suitable for sitting at a table.

A slightly more recent armchair (around 1740), arbalete-style, with more lively carvings (palms and rocaille elements) and curves, but with a moulding from the early Louis XV/ Rocaille style can be seen at the Musee Conde at Chantilly, and appears to have similar dimensions.

Style Louis XVI Armchair (Gilded 24 Carat Gold Leaf ) Poirier Cabriolet

Armchair by Philippe Poirier,

circa 1777.

Dimensions : 88 h x 58 w x 52 d cm.

Original : private 18th Century town house in Normandy (France).

This rare Armchair Gilded 24 Carat Gold Leaf , it is from the master of the Rue de Clery (under the sign "au Poirier") is a very well-balanced example of the early Louis XVI style. The arm rests are still of Louis XV design, and the intentionally sometimes lightweight carving by one of the greatest enthusiasts of Greek-style formalism. Traceries, piastres, rosettes, acanthus leaves, water lilies, raies de cœur form carvings which are very happily arranged (even on the reverse of the back rail).

Also note the foliage leg ends, the attachment of the arm rest to the back, the carving at the top of the back and on the ends of the arm rests. The seats by these masters are in the Louvre.

Antique Italian Style Venetian baroque chair from the 19th century

Dimensions : 126 H x 55 W x 48 D cm.

Seat height : 47 cm.

This Antique Italian Style Venetian baroque chair from the 19th century, inspired by the early Northern-Italian baroque style as well as the neo-classical style from the XVIIIth century, shows us the excesses of a daring and frivolous style.

Its high back, majestically carved with acanthus leaves seems to belong to a “chauffeuse” (low fireside chair).

Nothing is less true, however, since the seat allows the chair to be placed around a dining room table and it will stand out as an architectural element.

The style of this chair can be combined with a refined as well as a luxurious setting.

Antique English Style Sheraton Armchair

English armchair, around 1800.

Dimensions : 85 H x 56 W x 45.5 D cm.

Original : private collection.

Sheraton : (Thomas Sheraton) a style that competed with the Adam style in England and followed it at the end of the 18th century and beginning of the 19th. Adhering to its elegant English simplicity, Thomas Sheraton influenced the English-speaking world. He published a collection of drawings: “Cabinet Maker and Upholsterer’s Drawing Handbook”.

This English armchair is remarkable for its lightness and the purity of its lines emanating from the style of the end of the 18th century. Many of Thomas Sheraton’s designs are there and prefigure the “Regency” style. The elegance of this light chair with limited decoration is unquestionable and is suitable for placing around a table as well as in the drawing room.