Louis XV Style Corner Cabinet (Cupboard) Stamped by Bernard van Risenburgh

Louis XV Corner cabinet (one of a pair), 1745–49

Stamped by Bernard van Risenburgh (French, after 1696–ca. 1766)

Oak veneered with ebony and Chinese Coromandel lacquer, cherry, and purple wood, gilt-bronze mounts, Spanish brocatelle marble;

H. 35 7/8 x W. 33 7/8 x D. 26 1/8 in. (91.1 x 86 x 66.4 cm)Gift of Mr. and Mrs. Charles Wrightsman, 1983 (1983.185.1a,b)

This Louis XV Style corner cabinet (Cupboard) is veneered with panels cut from a late seventeenth-century Chinese lacquer screen. This colorful lacquer with its incised decorations is usually called Coromandel lacquer after the name of the English East India Company's trading post on the Coromandel Coast of India. Van Risenburgh frequently used such pieces of lacquer, supplied to him by various marchands-merciers, and he cleverly hid the edge of the panels behind scrolling gilt-bronze mounts.

Bernard van Risenburgh specialized in furniture decorated with panels of Japanese lacquer, which he first supplied to the French queen, Marie Leszczinska, in 1737. He was also celebrated for his furniture veneered with floral marquetry, usually made from kingwood and tulipwood. At the end of his career, he supplied the nobility with the novel innovation of furniture mounted with Sèvres porcelain plaques. BVRB's pieces can also be recognized by their gilt bronze mounts, which he designed himself. The novel forms of these mounts appear only on his works and help to distinguish his furniture from that of other cabinetmakers.

Antique Regence Style Armchair Carved and gilded

Antique Regence Style Armchair Carved and gilded walnut

ca. 1710

French Carved and gilded walnut, covered in late 17th-century wool,

velvet; H. 46 1/2 x W. 28 x D. 23 1/4 in. (118.1 x 71.1 x 59.1 cm)Purchase,

Gift of Mr. and Mrs. Charles Wrightsman, by exchange, 1983 (1983.526)

The frame of this Antique Regency style armchair is elaborately carved with a variety of ornaments such as shells and lambrequin motifs, floral trails, and openwork foliage of the highest quality. Its arched back, scrolling arms, and incurving legs are clearly a departure from the severity of the Baroque style. They serve as precursors of the emerging Rococo style with its curvaceous forms. The chair's drop-in seat and back facilitated the work of the upholsterer in that the fabric could be changed according to the season and did not have to be nailed into the wooden frame.

اثاث & قطع الأنتيك الأصليه من الاثاث والمعاد تصنيعها

ان قطع الانتيك الاصلية من الاثاث لا تباع ولكن الذى يباع هى قطع الاثاث المعاد تصنيعها فلو اردتم قطعة اثاث من لويس الرابع عشر او الخامس عشر او لويس السادس عشر او شيراتون او حتى الملكة أن فلن تكون هذه الانتيكات من هذه العصور وانما ستكون هذه القطع انتيكات اثاث معاد تصنيعها

Antique Louis XV Desk : Martin Carlin

Antique Louis XV Desk (bonheur-du-jour), 1768

Martin Carlin (French, ca. 1730–1785)

This antique Louis XV Desk made from Oak veneered with tulipwood, amaranth, stained sycamore and mahogany drawers, gilt-bronze mounts, Sèvres plaques; H. 32 1/2 x W. 25 7/8 x D. 16 in. (82.6 x 65.7 x 40.6 cm)
Gift of the Samuel H. Kress Foundation, 1958 (58.75.48)

Martin Carlin is known to have made at least eleven such bonheurs-du-jour, seven of which were signed by him. Raised on four slender curving legs, these tables are mounted with seventeen Sèvres plaques painted with delicate floral ornament, specially ordered for this purpose. Twelve of the plaques on this table bear the date-letter for 1768, the year that Madame du Barry, mistress of Louis XV, bought hers from the marchand-mercier Simon-Philippe Poirier. It is possible that this desk was the one that belonged to her

Louis XV Mechanical Table : Jean Francois Oeben & Roger Vandercruse Lacroix

Louis XV Mechanical table, ca. 1761–63

Stamped by Jean-François Oeben (French, 1721–1763) and Roger Vandercruse Lacroix (French, 1728–1799)
this Louis XV mechanical table is made from Oak veneered with mahogany, kingwood, and tulipwood with marquetry of mahogany, rosewood, holly, and various other woods, gilt-bronze mounts; H. 27 1/2 x W. 32 1/2 x D. 18 3/8 in. (69.9 x 82.6 x 46.7 cm)
The Jack and Belle Linsky Collection, 1982 (1982.60.61)

Jean-François Oeben, born in Heinsberg near Aachen, was known for his naturalistic floral marquetry and for his skills as a mécanicien which are apparent in the elaborate mechanism of this table with its sliding top. He made a number of such sophisticated tables. This particular one, with the unusual pierced openings in the curving legs, was intended for Madame de Pompadour. The main charge of her coat of arms, a tower, appears at the top of the gilt-bronze mount at each corner. The table was left unfinished at the time of Oeben's death in 1761 and completed by his brother-in-law Roger Vandercruse known as Lacroix.

Jean-François Oeben, or Johann Franz Oeben (9 October 1721 Heinsberg near Aachen - Paris 21 January 1763) was a French cabinetmaker whose career was spent in Paris.

Nothing is securely known about his training. He was in Paris by about 1740; from 1749 he lived in the Faubourg Saint-Antoine. On 29 June 29 1749 he married Françoise-Marguerite Vandercruse, daughter of the ébeniste François Vandercruse called Lacroix, and so was the brother-in-law of another outstanding cabinet-maker, Roger Vandercruse Lacroix, who stamped as R.V.L.C.

Roger Vandercruse Lacroix (1728 — 1799), often known as Roger Vandercruse, was a Parisian ébéniste whose highly refined furniture spans the rococo and the early neoclassical styles.

Commode The Jack and Belle Linsky Collection : Charles Cressent

Commode, ca. 1745–49
Charles Cressent (French, 1685–1768)
Pine and oak veneered with purplewood, mahogany, and bois satiné (bloodwood), gilt-bronze mounts, portor marble top; H. 34 1/2 x W. 55 x D. 22 3/4 in. (87.6 x 139.7 x 57.8 cm)
The Jack and Belle Linsky Collection, 1982 (1982.60.56)

Charles Cressent is known to have made a group of commodes of this kind over the years, all with a serpentine facade, shaped doors in the sides, rounded forecorners, and extraordinary sculptural mounts. This commode can be dated to 1745–49 because of a tax stamp for that period found on the gilt-bronze mounts that were, against guild regulations, cast, chased and gilded in Cressent's own workshop.

Antique Russian Armchair Furniture

Russian Armchair

Circa 1810.

Dimensions : 89 H x 63.5 W x 49.5 D cm.

Drawing-room height.

Original : Private collection, Doctor T.

This lovely “à la reine” drawing-room Russian chair reminds of a fairly widespread style in Europe at the beginning of the XIX th century. The classical forms inspired by the Etruscan, Roman or Egyptian antiquity differ from that period by arms ending in caryatids, linked to the armrest itself by a double jointing hidden in an elegant foliage. Sabre rear legs are topped by a rare and carved high crossbar. The front leg ends naturally with a feline paw. The sober architecture is adorned with a skilful disposition of laurels, rosettes and foliages referring to the European standards of that period.

Louis XVI Armchair ( bergère en cabriolet) Jean Baptiste Claude

Armchair (bergère en cabriolet), 1788 Jean-Baptiste-Claude Sené (French, 1748–1803)Carved, painted, and gilded walnut;

Dimensions : H. 39 x W. 27 1/4 x D. 25 1/4 in. (99.1 x 69.2 x 64.1 cm)

Gift of Ann Payne Blumenthal, 1941 (41.205.2)
This armchair is part of a set that consisted of a daybed, four armchairs, a bergère, a footstool, and a fire screen made for Marie Antoinette's cabinet de toilette (dressing room) at the Château of Saint Cloud in 1788. This set was originally upholstered with material that was embroidered by the queen herself. The frame of the bergère is finely carved with acanthus and ivy leaves, rosettes, and—on the arm supports—Egyptian term figures. The back rail is crowned by a cartouche with the initials of Marie Antoinette.