A DIFFErENT PErSPECTIVE ON 18TH

Transcription

3
CONTENTS
PrESS rELEASE
4
FOrEWOrD
7
THE CHALLENGES OF THE EXHIBITION
TH
UNVEILING THE DIVErSITY OF 18
CENTUrY SKILLS AND DESIGNS
SEEING, UNDErSTANDING, APPrECIATING...
TH
Press contacts
Hélène Dalifard,
Aurélie Gevrey,
Elsa Martin,
Violaine Solari
T : + 33(0) 1 30 83 75 21
[email protected]
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A DIFFErENT PErSPECTIVE ON 18 -CENTUrY FUrNITUrE
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THE EXHIBITION
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PLAN
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A VISUAL LABOrATOrY
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CABINET-MAKING
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JOINErY, SEATING
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IN CONNECTION WITH THE EXHIBITION
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PUBLICATIONS
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JEAN NOUVEL ABC
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THE ÉCOLE BOULLE
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MAÎTrES D'ArT VISITS
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PArTNErS OF THE EXHIBITION
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SPONSOrS
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MEDIA PArTNErS
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APPENDICES
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PrACTICAL INFOrMATION
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VISUALS AVAILABLE TO THE PrESS
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PrESS rELEASE
18th century, birth of design
FUrNITUrE MASTErPIECES, 1650 TO 1790
THrOUGH THE EYES OF JEAN NOUVEL
28TH OCTOBEr 2014 - 22ND FEBrUArY 2015, AFrICA rOOMS AND CrIMEA
rOOM
THE PAL ACE OF VErSAILLES IS PrOUD TO PrESENT ITS EXHIBITION OF FUrNITUrE
MASTErPIECES FrOM 1650 TO 1789, WITH rEPrESENTATIVE EXAMPLES OF THE rICHLY
CrEATIVE WOrK OF THE PErIOD. THE EXHIBITION OFFErS A GLIMPSE OF THE INGENUIT Y
OF A BYGONE Er A VIEWED THrOUGH THE LENS OF THE PrESENT DAY AND SHOWCASES
THE INNOVATIVE, AVANT-GArDE NATUrE OF THE SHAPES, TECHNIQUES,
OrNAMENTATION AND MATErIALS USED IN 18 TH CENTUrY FUrNITUrE. THIS IS THE FIrST
EXHIBITION OF ITS KIND SINCE 1955.
owned by some of the wealthiest
art-lovers of the time, including the royal family and its entourage, aristocrats and
financiers, and illustrates the revolution in furniture-making that took place in the 18th
century. Works from all the great masters will be on display, including those by
André-Charles Boulle, Antoine-Robert Gaudreaus, Charles Cressent, Bernard II
Vanrisenburgh, Jean-François Œben, Jean-Henri Riesener and George Jacob.
THE EXHIBITION INCLUDES A HUNDrED Or SO WOrKS
PrEVIOUSLY-UNKNOWN WOrKS FrOM PrIVATE COLLECTIONS WILL BE SHOWN TO THE PUBLIC FOr
alongside major works from collections at the Palace of Versailles, the Musée du
Louvre, the Musée des Arts décoratifs, the Château de Fontainebleau and the Getty Museum.
THE FIrST TIME
AS VISITOrS MAKE THEIr WAY rOUND THIS EXHIBITION, SEEING THE PIECES THrOUGH THE EYES OF
they will come to understand how furniture shapes and forms evolved over time,
from the expansiveness of mid-17 th-century cabinets to the playful curves of the Louis XV style to
the straight lines of the 18th century.
JEAN NOUVEL,
of these Ancien Régime artists will
be unveiled against a clean, contemporary backdrop. Unlike paintings, furniture must be more
than just admired, it must be interpreted and explained. Each piece is presented not as part of a
homogenous décor but as a singular work of art. Various visual tools as used, ranging from
magnifying glasses to digital imaging, to bring each piece's architecture, pattern, finish and unique
qualities to the fore.
THE ABUNDANT CrEATIVIT Y AND EXCEPTIONAL Cr AFTSMANSHIP
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EXHIBITION
CUr ATOrS
Daniel Alcouffe
Honorary Curator - General
Yves Carlier
Curator General at the Musée
National des Châteaux de
Versailles et de Trianon
Patrick Hourcade
Photographer and designer
Patrick Lemasson
Head Curator, Head of
ancient art at the Petit Palais,
Musée des Beaux-Arts de la
Ville de Paris
Gérard Mabille
Honorary Curator - General
will host special presentations for visitors,
including youngsters, to elucidate the connection between the culture heritage of yesteryear and
today's living tradition of artisanry and to explain, for instance, how a cabinetmaker makes a desk
or a woodworker builds a chair.
THE ÉCOLE BOULLE SCHOOL OF ArT AND DESIGN
AN 18 TH CENTUrY DESIGN
IN 1712, SHAFTESBUrY INTrODUCED THE TErM AND CONCEPT OF "DESIGN" TO ArT THEOrY. It
contains the dual meaning of "plan" and "intention" and unifies the process of conceiving and
shaping a work. For the first time furniture was planned with forethought, created with a specific
intention and shaped for both functionality and comfort. 18th-century furniture was produced
according to design sources, aux sources du design in French, both in its overall conception and in
its quest for harmony between form and function.
THE Tr ANSFORMATION OF FUrNITUrE-MAKING WAS PAr ALLELED BY CHANGES IN 18 TH CENTURY
SOCIET Y.
Commissioners of major furniture pieces showed an increasing desire for comfort and
luxury. The close cooperation between planners, architects, ornamentalists (precursors of
designers) and highly skilled artisans formed the basis for our modern philosophy of artisanal,
anti-industrial design. Decorative arts purveyors took up a new role similar to that of decorators
today and invented new applications for cabinetry.
THE METAMOrPHOSIS OF FUrNISHINGS
THE QUEST FOr THE IDEAL SHAPE AND FOrM HIT ITS PEAK IN THE 18 TH CENTURY,
when the silhouette
of furnishings began to change. Inventiveness and creativity abounded and new outlines began to
take shape, from console tables to commodes to secretary and armoire desks. Rigid outlines began
to soften, then morphed into rounded curves, then gave way to curved legs - sometimes four, six or
even eight of them. Furniture became multipurpose and featured mechanisms that allowed it to
transform into something else.
BrEAKTHROUGHS IN THE USE OF MATErIALS AND COLOUrS
with the rise of exotic woods,
lacquers, varnishes, tortoiseshell, mother of pearl, bronze, brass, lead, porcelain, straw, steel and
stone marquetry. Cloth, bulrush and copper began to be used in chairs. Long before the garish
colours afforded by plastic in the 20th and 21st centuries, the 18th century saw the birth of furniture in
red, daffodil yellow, turquoise blue and apple green, sometimes splashed with gold and silver. At the
same time, other colour palettes were limited to the black and gold of lacquer and bronze, and
patterns were reduced to natural ones made out of quality materials such as mahogany.
THE SAME QUEST WAS UNDERTAKEN IN THE USE OF MATErIALS,
PArT I
FOrEWOrD
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Part I — Foreword
THE CHALLENGES OF THE EXHIBITION
THrEE MAJOr CHALLENGES WErE POSED BY THIS EXHIBTION; AN EXPLOr ATION OF MASTErPIECES
meant examining them in their own right outside of their
historical context in different apartments, fully appreciating a curve, the gleam of a varnish or the
complexity of a hidden spring, and entering the mind of Boulle, Gaudreaus or Riesener to
understand how their work inspires designers today.
OF 18 TH -CENTUrY FrENCH FUrNITUrE
the
historical setting of the Palace of Versailles, where the focus is on refurnishing the royal and
princely apartments so that they ressemble as closely as possible the way they looked in the 18th
century. With the assistance and keen eye of photographer and decorator Patrick Hourcade, we
have followed the advice of experts who maintain that 18th-century perfection can be found in a
kingly desk or a queenly commode. "An objet should not be vague or lifeless," wrote the collector
Michel David-Weill in his Mémoires, "it should attract attention and must have such a strong
presence that all its creative energy is concentrated inside it." With the improvements of 21st-century
technology, we can understand the creative energy of the 18th century better and reveal it for the
first time to exhibition visitors.
This was the second challenge of the exhibition: highlighting the incredible inventiveness and aweinspiring skills of cabinetmakers, marquetry layers, masons and bronze workers who turned
furniture into an art form for the first time, rendered it part of daily life and exposed it to the world.
Finally, the third challenge of this exhibition was to reveal how the craftsmen of the past have
influenced modern-day designers. It is not insignificant that the word "design" was coined in 1712,
marking the beginning of an uninterrupted era in which furniture has echoed society. A new
perspective on 18th-century furniture revives interest at a time when it may have started to be
neglected.
I would like to express my thanks to Jean Nouvel for agreeing to assist us in this unique exhibition.
The first challenge was to "remove" the furniture from its usual set ting within
would never have been
brought to fruition without the erudition and drive of Daniel Alcouffe; the commitment of the
Palace of Versailles curators Gérard Mabille and Yves Carlier, led by Béatrix Saule; the enthusiasm
of Patrick Lemasson, Head Curator and Head of Ancient Art at the Petit Palais, and the motivation
of the top international experts on the scientific committee. I would like to thank each of them for
their dedication in making us see these iconic items of furniture through a new perspective.
the idea that we could approach this major theme with new ideas
Thanks to the generosit y of some of the most eminent private collectors, we have been able to
combine the beauty of unknown works with a rich array of loans by some of the world's leading
museums. I would like to thank each one of them. They confirm that Versailles remains the natural
home of perfection.
Catherine Pégard
President of the Établissement public du Château, du Musée et du domaine national de Versailles
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Part I — Foreword
UNVEILING THE DIVErSITY OF 18TH-CENTUrY
SKILLS AND DESIGNS
and
success. When connected with a historical celebrity – a prime example would be Marie-Antoinette
– it takes on an almost obsessive dimension. This level of perfection attained in the 18th century by
Parisian craftsmen was the result of both technical and decorative work and research during the
lives of several generations of masters, workers and partners. Working within a restrictive
environment that was tightly controlled by the French system of corporations, they succeeded in
revolutionising the fundamentals of furniture appraisal in just a little over a century.
Furniture appraisal was primarily typological. A leap from 15 common types of furniture in the
1670s to approximately 100 before the Revolution illustrates the astounding evolution in form and
function alongside an increase in the number of rooms in apartments.
The furniture of Versailles is often considered synonymous with perfection
however, the correl ation with interior design does not explain how a sofa came to be a
paphose, a tête-à-tête, an ottoman or a turquoise, or why a veilleuse chair could be a billiards chair
or a confidante chair. Neither does it justify why a table could serve for writing, for cabaret, as a
chiffonier, for studying, as a desk, dressing table, campagne table, bedside table, en-cas table, or for
dining, drinking tea, service or games such as backgammon!
Secondly, the new appr aisal was also an aesthetic one.
Among the great accomplishments of
the 17 century was the use of veneer in different species of wood, generally exotic. Initially limited
to ebony, it developped significantly, expanding to the creation of marquetry tables, where the
brilliance of the cut and the combination of different species skilfully selected for the pattern of
their grain created a rich diversity of colours (often, unfortunately, faded with time). Not satisfied
with simply using wood or other traditional marquetry materials, and prompted by a rich clientele
of merchants who specialised in selling works of art, cabinetmakers turned to other materials not
related to their art. The use of porcelain plaques, varnished sheet metal and re-adapted oriental
lacquers to fit new forms removes nothing from cabinetmakers' creativity, which increased further
still with the use of a European varnish to replace lacquer, enabling furniture to be adorned with
reliefs.
th
L astly, this appr aisal had a technical orientation.
New techniques enabled joiners, for
example, to remove the struts that strengthened chairs, thus making their silhouette more elegant.
Similarly, cabinetmakers were able to stop using cross ties between the drawers of commodes and
improve their aesthetic cohesion, while ulpholsterers could vary their materials to match the overall
aspect of the chair they were covering.
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since the last exhibiton on French 18th-century furniture,
knowledge on the subject has developed considerably. Initially, researchers focused on identifying
the artists and determining the name behind the stamp – the maker's mark – on each piece of
furniture. However, a new generation has decided to classify periods of design more precisely and
in particular to identify furniture with prestigious origins, establishing at the same a timeline of
production, now accepted by all. On this basis, recent studies have focused on ascertaining the finer
points, and in particular on detailing the different manufacturing processes.
We now know that furniture was made by multiple craftsmen and artists. This meant identifying
the work of each specialist: joiners, sculptors, cabinetmakers, smelters, chasers, wood or metal
gilders, locksmiths, mechanics, gold leaf painters, varnishers, masons, gainiers, tabletiers,
upholsterers, cane workers, manufacturers (of varnished sheet metal, porcelain, upholstery etc),
haberdashers, trimmings suppliers, decorative-arts purveyors, architects, decorators and many
others.
over the past 50 years or so,
bears testimony to all
these developments. Exhibits include exceptional - and sometimes even legendary - furniture from
public collections as well as a large number from private institutions and collections. Such a
selection owes itself to the generosty of the lenders and the erudition and renown of the curators
and scientific committee, directed by Daniel Alcouffe, who Versailles is honoured to be working
with. A rich and modern discourse addresses the process of artistic creation and complements this
unique collection of masterpieces. This new perspective aims to highlight the evolution of form and
the growth of "design", a concept that was first adopted in 1712. It also reminds us that the
furnishings on display were "modern" works of their era, whose form and aesthetics were
considered audacious. Although some may appear extravagant to us today, each item testifies to the
refinement of the society of the Ancien Régime, represented by Paris and Versailles.
"18 e , aux sources du design, furniture masterpieces, 1650 to 1790"
Béatrix Saule
Director and Curator General at the Musée National des Châteaux de Versailles et de Trianon
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Part I — Foreword
SEEING, UNDErSTANDING, APPrECIATING...
and the
reasons behind the transformation of the decorative arts, this exhibition reveals the driving force of
invention during the Enlightenment, a period when furniture became an art unto itself for the first
time. Architects, artists, merchants and simple artisans came together to craft furniture into
something the world had never seen. Nothing would ever be the same again; the three daily acts of
sitting on a chair, sitting at a table and organizing the home would, during the 18th century, morph
into an art. Where tidying clutter once meant secreting things away, it now meant putting them on
display. Straight-backed chairs gave way to more comfortable seating. Severe, throne-like armchairs
stretched into chaises longues. Tables with drawers turned into desks and commodes. At the same
time, straight lines were replaced by curves before regaining their place of favour. Décor, originally
the realm of textiles and wall ornamentation, spread to corners, expanded to ridges and hinges,
taking on shapes and colours all the way to manifold techniques and effects, some experimental.
Furniture received new finishes and took on new silhouettes, exploring new materials and seeking
new contours for the first time. Cabinetmakers threw off the shackles of architecture while
simultaneously playing with it and mimicking its styles. Furniture became lighter in tone, and
comfort and luxury took on larger role. Daily activities became closely tied to furnishings, which
came into their own during this time. The relationship between the individual and furniture
became starker and an art in its own right. Owing to their structure and ingeniousness and the
incomparable quality of their artisanry, 18th-century furnishings became a mainstay of daily life
and fashion, with all of the era's trends and styles. Along the way, furniture making acquired new
status and recognition, known forever after as an intellectual design process. Today, 21st-century
technology helps us focus on these inventive creations from the past, inviting exhibition visitors to
trace their history and gain a better understanding of the origins of furniture as we know it today.
through its displ ays, presentations and expl anations of lines and designs
Patrick Hourcade
Photographer and Designer, Co-Curator of the exhibition
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Parti I — Foreword
A DIFFErENT PErSPECTIVE ON 18TH-CENTUrY
FUrNITUrE
When Catherine Pégard and Patrick Hourcade asked me for "a perspective" on 18 th century furniture, I pointed out my incompetence on both the subject and the era. Their reply
was unambiguous: they were looking for a candid, somewhat particular viewpoint…
"You're distanced from it, you create the buildings and furniture of today, so tell us what you think
about these artefacts, three centuries after they were created…" It was then that I realised that the
only identifiable feeling I had on the subject was a sense of being dazzled; blind admiration, in other
words… So I squared my shoulders and examined the Enlightenment more closely… I first must
say that my view is partial, in both senses of the word. I had hoped that one of my own startingpoints for designing an architectural project (cross-referencingviews from the outside with those
from the inside) would help me make myself understood.
I saw. I looked. I observed. I was surprised.
My evaluation is Sketchy.
Here I can only give fragments. Perhaps one day, with a little more
work, the pieces of this puzzle could be put together and the completed picture will offer a kind of
analysis…
I have listed some key words taken from my observations, presented in the form of an ABC to allow
them to hover freely and provide food for thought. I have selected 18 letters for 18 key words
(printed in bold). Depending on the ensuing text they are then backed up by other relevent or
intriguing words (printed in italics). I also found it helpful to give these words their objective
dictionary definition, so as to clarify how they should be interpreted. The first word is
ArCHITECTUrE.
JEAN NOUVEL
Architect
PArT II
THE EXHIBITION
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Part II — The exhibition
Plan
Section 1
Section 8
Section 14
Cabinet
The king’s bureau
Joinery - the chair
Section 2
Section 9
Section 15
André Charles
Boulle
Colour
Curves and comfort
Section 3
Section 10
Section 16
Materials
Large chairs
Section 11
Section 17
“Greek style”
Furniture sets
The Orient and
lacquer
Section 12
Sections 18 and 18b
Transition and Louis XVI
Section 5
Design and
ornamentation
Section 13
The queen’s jewel case
Large furniture
Section 4
Section 19
Charles Cressent
Section 6
Monumentality and
straight lines
Curves
Section 7
Writing
s16 s17
s15 s18
s14 s18
s11
s12
s13
b
s19 s18
s1
s10
s9
s8
s7
s6
s2
s5
s4
s3
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Part II — The exhibition
A VISUAL LABOrATOrY
The exhibition had to be compatible with today's perspective to help the younger
of the 21st century understand the significance of the invention of
new shapes and forms, as well as the ingenuity of the techniques developed in the 18th century that
sparked a genuine revolution in the concept of furnishing, whose repercussions can still be seen
today. Thanks to the most advanced analytical techniques and clean, simple displays that bring out
the creative force of these historical masterpieces, the exhibition forms a link between two different
centuries and generations, connecting the culture of the past with modern points of view.
gener ations and AUDIENCES
Alongside this deliber ately simple scenogr aphy that focuses visitors' at tention on the
works, Jean Nouvel provides an insight into this unique collection of 17 th and 18 th -
His observations, thoughts and views accompany visitors through the
exhibition, equipped with his ABC, a tool that is at the same time both pertient and impertinent.
century artefacts.
DÉCOrAL
Décoral is an interior design
firm specializing in the
design, production and rollout of a wide variety of events
all over the world.
Scenography:
Valéry Sanglier
has been designed as a "visual laboratory", in which
Décoral have striven to produce a display that maximised the understanding and visibility of each
exhibit. Each item of furniture has been raised up off the floor to optimise viewing, and is
contrasted against a white background; visual effects, architects' drawings, reconstructions and
films of investigations shed light on the process of design; magnifying glasses enhance certain
details and images of the silhouettes reveal the creative spirit of the object. The exhibition offers the
aesthetics of a laboratory-workshop-design studio.
lighting also pl ays an important role. It evolves and adapts to the different works, both in
colour and in value, and guarantees diversity as the visitor walks through the exhibition.
complementing the vision of jean nouvel, there is signage in two forms: large white text
against a grey background at the start of each section, and large labels with additional information.
while the floor of the exhibition is neutr al, the ceilings with their grand cornices of the
Africa Rooms have been kept, and in some rooms the walls of the Palace have been integrated into
the display.
this didactic and cultur al exhibition
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CABINET-MAKING
This most important innovation in French furniture making in the 17 th century was the
development of cabinet-making. In the early 17 th century Flemish and German artisans
imported veneering, in other words the technique of l aying a thin sheet of wood over
the structure of the furniture. The first material used in cabinet-making was ebony,
giving rise to the French name for the cr aft, "ébénisterie" . New techniques like
marquetry came soon after, followed by the use of new materials such as marble and
mosaics of hard stone or gilt bronze, expanding the r ange of ornamentation.
SECTION 1
CABINET
a cabinet's ornamentation is the natural starting point when new
ways to vary its appearance are sought.
Architectur al and theatrical,
The cabinet was at the origin of cabinetmakers' work.
Construction
Veneers or other materials
would be used to cover the
structure completely.
Cabinet
Paris, circa 1675 (whole piece);
Florence, 1664-1672 (stone inlaid panels)
Cabinet: made of partially polychrome oak and resinous wood,
Veneer
This technique uses another
species of wood to cover the
body of a piece of furniture.
Veneer could be patterned
(with geometrical motifs
using one or two species of
wood, whose grain served
to create different effects) or
include marquetry (using
several species of wood to
create an image).
ebony and jacaranda veneer, tin, stained horn, hard stone inlay,
gilt bronze, painted glass and stained glass in the body. Base:
partially sculpted gilt polychrome oak.
H. 2.58; L. 1.92; W 0.60 m.
Strasbourg, Musée des Arts décoratifs
This cabinet evokes the splendour and luxury of grand
ceremonial furniture that became popular during the reign of
Louis XIV.
Though quite different in style from the highly Italianate
Cabinet desk
A desk opened with doors, a
flap or even drawers resting
on raised legs.
cabinets made by Domenico Cucci at the famed Gobelins visual
arts school in Paris during the same period, this Strasbourg piece
is an eloquent illustration of the French blend of style used in
Parisian cabinetry in the 1670s.
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ANDRÉ CHARLES
BOULLE 1642-1732
The most famous cabinetmaker of his time, he was also
the first woodwork artisan to
obtain the status of Artist in
the 18th century. His renown
was such that he lent his name
to the marquetry technique
known during his time simply
as "marquetry", that was neither his creation nor unique to
his work, now known as "Buhl
marquetry".
Already a recognised master
of the art by 1666, he was very
quickly successful and in 1672
was officially qualified as "the
King's cabinet-maker, chaser,
gilder and sculpter" and was
granted an appartment in
the galleries of the Louvre,
alongside the greatest artists,
painters and sculptors. Their
company influenced Boulle,
who instigated unprecedented
developments within French
cabinet-making through the
use of sculpture – gilt bronze
ornements - and painting
- inlaid paintings. He not
only built furniture but also
made objects of gilt bronze
(girandoles, chandeliers,
candle holders). His work is
well known thanks to three
inventaries made respectively
when he gave his company to
his four sons (1715), when he
was victim fo a fire (1720) and
upon his death (1732). The
publication of illustrations
of his furniture by Mariette
after 1707 (Nouveaux desseins
de meubles et ouvrages de
marqueterie) also contributed
to his renown.
SECTION 2
ANDrÉ CHArLES BOULLE
André Charles Boulle, a cabinetmaker famous for his marquetery combining tortoiseshell
and copper, created several types of furniture that became popular during the 18th century. He was
also one of the pioneers in the use of gilt bronze in furniture.
Tr aditionally covered with frieze (a heavy woollen fabric), writing tables gave way to desks
with their own drawers and tops with a copper covering. Desks initially built with eight legs
evolved into desks on four legs.
Towards the end of the reign of Louis XIV, cabinetmakers were principally producing
commodes and flat-top desks. A descendant of the desk with eight legs, it had drawers added to it
all the way along its front. The first commodes also had inlaid tops, but this later gave way to marble
slabs.
Commode
André Charles Boulle
Paris, 1708.
Ebony veneer, tortoiseshell and brass inlay, gilt bronze,
griotte marble.
H. 0.88; L. 1.31; W. 0.65 m
Versailles, Musée National des Châteaux de Versailles et de
Trianon
This piece from the chambers of Louis XIV at Trianon is the
earliest known commode. Its construction bears signs of the
trial and error that occured before it was finally completed. It appears to be a hybrid of two pieces of furniture built
from two independent elements: a table placed over a bureau with its own set of legs. The completed work is an
example of the era's taste for rich materials and contrasting colours, with the gold of gilt bronze, red of the griotte
marble top and the dark brown of the tortoiseshell veneers inlaid with copper alloy. The profile of the drawers - one
convex, the other concave - is a testimony to the artisan's mastery of veneering techniques and hints at the Rococo
style that would make great use of the interplay between curves and countercurves.
Flat top desk with six legs
André Charles Boulle
Buhl marquetry
Paris, circa 1715. Oak, ebony veneer, tortoiseshell and brass
inlay.
This refers to the technique
of cutting forms out of two
superimposed veneers at the
same time, one light-coloured
and the other dark-coloured.
The light motifs are inserted
into the dark background and
vice-versa. Today, Buhl marquetry is often used to refer
to inlaying with tortoiseshell
and copper (or brass). While
Boulle did not invent this
combination of materials, he
was perhaps one of the best
at using it.
H. 0.81; L. 2.11; W. 1.00.
Château de Vaux-le-Vicomte
This desk with its three drawers and four corner legs
connected with stretchers to two supplementary, inset legs
in the middle of each end illustrates an intermediate stage
in the evolution of flat top desks. It reveals the link between the designs of the 1680s and 1690s with two
compartments and eight legs, and the models with four curved pieds de biche legs. This design was perfected by
Boulle around 1710-1715, with drawings by Oppenordt, and became the template for French flat top desks for half a
century. Boulle often used these stretchers in consoles and other types of desk.
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SECTION 3
LArGE FUrNITUrE
In the 18th century,
however, furnishings no longer grew vertically but horizontally, sometimes reaching extraordinary
dimensions.
A NEW INVENTION, the commode was a ceremonial furnishing that initially took pride of place in
the bedroom, and then later in salons and studies as well.
early on in the reign of Louis XV marquetry with multiple species of wood declined in
popularity with the emergence of a preference for patterned veneer, a technique using only one or
two species to create strictly geometrical patterns.
during the reign of Louis XIV, l arge furniture items were also tall .
Double commode with drawers and vantail
doors
Paris, around 1730. Made of oak and conifer,
rosewood veneer, curly walnut, red marble
from Rance, gilt bronze.
H. 0.840; L.2.820; W. 0.825 m.
Paris, Musée des Arts décoratifs.
Vantail / vantaux
The outline of this commode, as well as its patterned veneer and gilt bronze ornamentation is characteristic of
This French term was another
name used for furniture
doors, in particular on cabinets, commodes or corner
cupboards.
furnishings from the 1730s. The piece itself stands out for its exceptional size: nearly three metres long instead of the
traditional one and a half for a commode. It stands on four legs capped with bronze bearclaw sabots and features
powerful lines that enhance its lively form. The crossbow-shaped façade extends beyond the front legs, and the body
contains corner cupboards with vaintail doors. The entire piece is covered with rectangular, diamond-patterned
rosewood veneer panels accented by rich gilt-bronze embellishments arranged symmetrically. Its acanthus leaves,
mirrors, bases, shells, scalloped borders and beaded chutes are also typical of the classical Regency style. Only the
bearclaw sabots offer a glimpse of originality that is nevertheless suited to the furniture's unusual size.
Low Bookcase
Antoine-Robert Gaudreaus and Jean-Henri
Riesener, from a design by SébastienAntoine or Paul-Ambroise Slodtz
Paris, 1744 and 1784
Made of oak with ebony and jacaranda veneer
on the exterior, rosewood and cherry wood on
the inside of the vaintail doors, with blue
coloured horn, gilt bronze, marble from
Rance.
H. 1.265; L. 3.430; W. 0.795 m
Paris, Ministère de la Marine, Service des collections du cabinet du chef d'état-major de la Marine.
This bookcase was made in 1744 by Gaudreaus for the private chamber of Louis XV (1710-1774) in the Palace of
Versailles, where it remained until 1755. In 1784 Riesener extended it by two units at the request of Thierry de Ville
d'Avray (1732-1792), the Steward of the Royal Furniture Store, for his official accommodation at Place Louis XV in
Paris (now Place de la Concorde).
21
SECTION 4
THE OrIENT AND LACQUEr
Decorative-arts purveyors
In the French corporation
system under the Ancien
Régime, artisans were forbidden from manufacturing
or selling objects belonging
to other trade associations.
There were, however,
exceptions such as the haberdashery trade association
which was permitted to sell
the products of others (made
from fabric and haberdashery
products). Decorative-arts
purveyors dealt in luxury
items and works of art. They
produced nothing themselves,
but used the work of other
trade associations. Diderot
described them as “dealers
in everything, doers of
nothing"..
Originally from China and Japan, lacquers on storage chests and fold screens were a source of
fascination in the West. Deprived of the raw materials needed for the creation of lacquer objects in
Europe, Westeners tried to imitate it before adopting the Oriental lacquer techniques.
Working under art purveyors, Parisian cabinetmakers were able to adapt and sometimes bend
Oriental lacquer to fit Occidental forms. Areas not covered by the lacquer panel were finished with
varnish ornamentation in the style of the Oriental version.
Commode of Marie Leszczinska, Bernard
II Vanrisenburgh (B.V.R.B.)
Paris, 1737. Made of oak, fruitwood veneer,
Japanese lacquer, Vernis Martin, gilt bronze,
marble from Antin (or Sarrancolin).
H. 0.850; L. 1.275; W. 0.610 m.
Paris, Musée du Louvre.
This commode owned by Marie Leszczinska
was delivered to her by the art purveyor
Thomas-Joachim Hébert in 1737 for her
cabinet de retraite in the Château de
Fontainebleau. It is without a doubt one of
the most innovative pieces of furniture to be made during the transition to lacquer in the 18th century. It is the first
known, properly documented furnishing to feature panels coated with Japanese lacquer, reputed to be much more
complicated to reuse than Chinese lacquer. In this piece, B.V.R.B. overcame all technical and aesthetic difficulties and
arrived at a solution that was brilliant to say the least and would not be improved upon in the 18th century. In the
second half of the century, using such lacquers on non-flat surfaces was a risky proposition, not only because of the
popularity of patterns in relief but also due to the hardness of the panels.
Commode
Bernard II Vanrisenburgh (B.V.R.B.) (attributed to)
Paris, 1730-1735.
Built of fir, oak façades, walnut drawers, Coromandel
lacquer, European varnish, gilt bronze.
H. 0.825; L. 1.260; W. 0.545 m
Sceaux, Musée de l’Ile-de-France
This commode is from the Cabinet de la Chine in the
Château de Sceaux owned by the Duke of Maine, the
legitimated son of Louis XIV and Madame de Montespan.
This piece includes adapted panels of Oriental lacquer. An inscription in Chinese in the design refers to the leaves on
the façade, which allow identification of two well-known depictions: the 6th and 7 th scenes from the Ten scenes of the
West Lake of Hangzhou, a lake situated near the former capital of the Southern Song (China, 5th century). The French
taste for the use of lacquer on the top is unique to the 18th century.
22
Charles Cressent
1685-1767
Born in Amiens to a family
of joiners and carpenters,
Charles Cressent was an
apprentice in his father’s
workshop. He later moved to
Paris where, in 1714, he became a Master sculptor. In the
meantime he had been associated with a young Parisian
cabinetmaker, Joseph Poitou
(1680-1719). When Poitou
died prematurely, Cressent
married his widow and took
over his cabinetry workshop.
His work attracted the attention of the Duke of Orleans
who accorded him the title
of “Ordinary Cabinet-Maker
for the Palaces of His Royal
Highness Monseigneur le
Duc d’Orleans”. Cressent
was in charge of one of the
principal Parisian workshops
on Rue Notre-Dame-des-Victoire for 40 years, where he
designed furniture and provided the wax models for the
bonzes produced under his
management. He consequently had several quarrels with
bronze workers and gilders.
Thanks to his reputation, his
clientele included the Elector
of Bavaria and the King of
Portugal as well as ministers,
senior officials and financiers.
Like Boulle, he sold both
furniture and bronze furnishings and collected bonzes
and paintings. As business
slowed, he put his stock and
collections up for auction on
three occasions: in 1749, 1757
and 1765. He wrote the text
for his catalogues himself.
SECTION 5
CHArLES CrESSENT
much like Boulle, worked from his own designs for a
wealthy and enthusiastic clientele who appreciated the power and originality in his creations. Like
Boulle, he supplied models of his bronzeworks which, in some cases, were sculptures in their own
right. The patterned veneer on his furniture was designed to complement the overall form and
bring out the bronzework. Cressent also made grand ensembles, such as a bureau and file cabinet.
A sculptor by tr aining, Charles Cressent,
Medallion cabinet
Charles Cressent
Paris, circa 1750.
Body and drawer made of oak, amaranth veneer variegated with
horizontal threads and satin-finish wood pattern accented with double
threads of boxwood and ebony.
H. 1.91; L. 1.10; W. 0.43 m.
Lisbon, Museu Calouste Gulbenkian.
The interior of this cabinet contains sixty-eight medallion pulls. One of
Cressent's later works, it is also one of his greatest masterpieces. It uses
several of his best sculpted motifs (for example, busts of ancient generals
and scenes of children minting coins) with refined veneer patterns that
evoke the art of upholstery (contrasting matte backgrounds with shiny
strips of satin finish). Medallion cabinets at the time typically took the
form of small boxes, but with this piece Cressent chose to create an
original form that combined a last-century cabinet and base with a
ceremonial cupboard much like the ones Boulle produced around 1700.
Pair of wood-panelled corner cupboards
Charles Cressent
Paris, circa 1740.
Made of oak with five oak parquetry doors on
each cupboard, satin-finish amaranth veneer;
gilt bronze decoration.
H. 1.920; L. 3.320; W. 0.394 m
Los Angeles, J. Paul Getty Museum
The faces of Apollo and Diana feature at the
top of the two outer, convex doors, with
corresponding trophies hanging underneath.
The intermediate doors are decorated with allegories from the liberal arts. At the top of the central convex door
there is a mask of Bacchus with the corresponding trophy. The idea of lining three walls of a room with exquisite
cabinetry work, forming an almost uninterrupted feature - broken only by the fireplace or doors - is evocative of
André-Charles Boulle. The doors of this cupboard were restored by the house of André in 1965.
23
SECTION 6
CUrVES
rococo style
Following on from the
Regency style, the Rococo
style (1730 - 1745/50) was
one of the more fleeting
movements of the Louis
XV style. It had three main
characteristics: systematic
use of curves, excessive use
of decoration and, especially,
the use of asymmetric forms
to the point of deforming
the elements of nature that
inspired the work.
or even from the exotic or
fantastical, the Louis XV style, or Rococo style, is often described as being supple, fluid and refined.
Its defining characteristic is the skilful integration of curves and countercurves into both the forms
and the linearity of the decoration. Curved furniture was accompanied by bronzes with lavish
contours.
Taking inspir ation from the miner al and aquatic worlds,
the pioneers of this st yle had limitless imagination, creating a universe that was almost
extravagant. At the same time, natural depictions of flowers were never fully abandoned, and can
often be found in marquetry or bronze work.
File cabinet owned by Machault
d’Arnouville, Bernard II Vanrisenburgh
(B.V.R.B.)
Paris, circa 1745-1749.
Made of oak, rosewood veneer and floral
marquetry, centre leaf opens to reveal seven
solid-rosewood drawers, two doors on the
side; gilt bronze decoration: panel frames
decorated with Rococo and leaf
embellishments; Brèche d’Alep marble.
H. 1.05; L. 1.65; W. 0.49 m
Private collection
This piece "masters" the curve so characteristic of the Louis XV style with its bronze frames spiralling over the
surface of the façade, working above all for the piece's overall balance. The cabinet's purpose is not clear. One theory
is that it may have been used to store shells or minerals, although the inventory made after the death of Machault
d’Arnouville made no mention of any shells, natural science objects or minerals in the library where this piece was
kept. Another theory is that the most valuable of the 161 folios in the inventory - out of the thousand or so volumes
listed - may have been kept in the side compartments of the armoire.
Commode owned by the heir apparent at Choisy
Jean Pierre Latz and Jean-François Œben
Paris 1756
Made of oak, satin-finish veneer, amaranth, rosewood,
sycamore, ebony, laburnum, chiselled and gilt bronze,
drawers lined with blue silk, marble top.
H. 0.900; L. 1.370; W. 0.595 m
Private collection
Pioneers of the Louis XV style had boundless
imagination, and their creations bordered on
extravagance, although flower-based undistorted
decoration was never fully abandonned. Although this
commode has no stamp, it is most probably the work of the cabinetmakers Latz and Œben. Is this furniture the fruit
of a partnership between the two workshops of Latz and Œben? Or did Œben buy the structure and bronzes from
Latz's workshop and then decorate them with his own marquetry?
24
SECTION 7
WrITING
to allow people to
write standing up, seated on a chair, armchair or sofa, or even lying down, and to expand the
functionality of desks to include other purposes such as storage and reading.
Writing at the time required not only paper, but also a place to store the pen and sand to quickly
dry fresh ink. Writing desks always had three items: an inkwell, sander and sponge-holder.
Cr aftsment developed diverse, sometimes highly complex mechanisms
Bourgogne table
Jean-François Œben
Paris, circa 1763
Made of oak, satin-finish veneer of jacaranda, sycamore and amaranth, gilt bronze, red
griotte marble. H. 0.919; total H. 1.430; L. 0.705 ; W 0.515 m
Paris, Musée du Louvre
The Bourgogne table, named in honour of the Duc de Bourgogne (1751-1760), the eldest
son of the French Dauphin, is the most complicated of Œben's works. It includes a semicommode with a cupboard and drawers, a marble en-cas table and a folding secretary
desk. It also features a glass-fronted bookcase, bed-table and prie-Dieu. The bookcase
can be removed and put back by means of chains, pivots and cogs, controlled by inserting a crank handle into the
right hand side of the table. The bookcase's curved sides equally slide aside to reveal two small niches each containing
two round boxes. The legs of the bed-table unfold.
Writing table
Bernard II Vanrisamburgh (BVRB) (attributed to)
Paris, circa 1745-1749
Made of oak and fruitwood, with two drawers with fruitwood fronts, walnut, oak,
rosewood veneer, marquetry of mother-of-pearl and red-coloured horn on a
background of green-coloured horn, gilt bronze. H. 0.705; L. 0.991; W. 0.521 m.
San Francisco, Fine Arts Museums
This piece has unusual horn and mother-of-pearl marquetry, similar to that found on toiletry chests and cases,
chessboards and other valuable decorative-arts purveyors' items, for whom BVRB worked throughout his career. The
idea here is evident: apply precious techniques originally only used for small objects to furnishings of a slightly larger
scale.
Mechanical "dual-purpose" table
Jean François Œben (attributed to)
Paris, circa 1760
Made of oak, amaranth veneer, polychrome wood marquetry against a holly wood
background, gilt bronze. H. 0.67; L. 0.70 ; W. 0.35 m
Paris, Musée Cognacq-Jay
Œben designed this style of table, sometimes called a "dual-purpose table", as a writing
desk and dressing table. It is opened by a complex mechanism based on a spring made of
two curved slats positioned in the opposite direction to the movement desired. A key
triggers their release, propelling the drawer outwards. Its projection is slowed by a cog that pulls back the top lid at
the same time, and whose motion prevents the table tipping forwards and also reveals the table's inner
compartments. The unique marquetry decoration reproduces patterns on Indian silks that, although highly prized,
were prohibited at the time.
25
SECTION 8
THE KING'S BUrEAU
and keep his own letters hidden away
from others. The roll-top desk was created for this purpose. A dual-faced clock with a single
pendulum on top of the desk allowed both the King and his visitor to see the time. The inkwells
could be re-filled from the exterior without having to open the desk thanks to discreet drawers on
the sides. A single key unlocked the desk, released the drawers and provided access to the secret
compartments.
Louis XV sometimes needed to write let ters in private,
King's bureau
Jean-François Œben and Jean-Henri Riesener
Paris, 1760-1769
Made of oak, satin-finish, amaranth and rosewood veneer (mainly), gilt bronze, porcelain.
H. 1.473; L. 1.925; W. 1.050 m
Versailles, Musée National des Châteaux de Versailles et de Trianon
Crafted by Jean-François Œben and Jean-Henri Riesener, Louis XV's roll-top desk is the most iconic piece of 18th
-century French furniture. Its grandeur and the beauty of its marquetry and bronzes are remarkable, and the desk is
highly complex and beautifully made. Started in 1760 by Jean-François Œben, a master marquetry artisan renowned
for his creations of small mechanized furniture, the desk was finally delivered nine years later in 1769 by his student
Jean-Henri Riesener.
Every detail required a great deal of skill. A mechanical marvel, the desk contained a complex system of springs and
counterweights that opened the roll-top lid and all of the drawers with a simple quarter turn of the key. The oval
roll-top was composed of seven articulated slats veneered with jacaranda, sycamore and mahogany. Its production
required craftsmen from fourteen disciplines including cabinetry, bronze-working, chasing, gilding and clockmaking. The bronze figures were cast and carved by Louis-Barthélémy Hervieu, based on models by Jean-Claude
Duplessis.
26
SECTION 9
COLOUr
Vernis Martin
Generic name for the varnish
developed by the Martin
brothers to imitate Oriental
lacquer, which was impossible
to reproduce outside of Asia
because it required a specific
raw material sourced from
the sap of a tree.
the 18 th -century marquetry works have almost all lost their initial colours, the vividness and
hues of which would astound us if they were still present.
Different techniques enabled cabinetmakers to produce a wide variety of coloured veneer wood
including blue, green, red and grey, but which by now have all faded to orangey hues. Other
materials such as porcelain, lacquer and the famous vernis Martin, however, have kept their
original tone and enable us to appreciate the intensity and harmony of the former colours,
testifying to the popularity of polychromatic furniture.
Commode of the Comtesse de Mailly at the
Château de Choisy
Matthieu Criaerd
Paris, 1742.
Made of oak, fruitwood veneer, vernis Martin,
silvered bronze, Turkey Blue Marble.
H. 0. 850; L. 1.320; W. 0.635 m.
Paris, Musée du Louvre.
A one-of-a-kind piece, this commode stands on
curved legs and is coated with blue and white vernis
Martin designed to mimic Oriental lacquer. The
"Chinese-style" Rococo décor introduces an air of
refinement. With its multiple colours and Asian-inspired motifs applied using Oriental techniques, the bureau
demonstrates the popularity of exoticism and shows how European décor was conceived at the time. The silvered
bronze ornamentation, consisting of chutes along the ridges of the legs and openwork sabots, are characteristic of
Criaerd's work.
Commode of Mademoiselle de Sens,
Bernard II Vanrisamburgh (B.V.R.B.)
Paris, circa 1760
Made of oak, thuja veneer on the outside, rosewood
veneer on the inside (inside and edges of the doors,
shelf edges), porcelain from Sèvres, gilt bronze, red
griotte marble.
H. 0.89; L. 1.43; W.0.54 m
Private collection
It was the decorative-arts purveyor Simon Philippe
Poirier's idea to use porcelain to decorate furniture
in the late 1750s. His porcelain came from the new
production in Sèvres and he consulted B.V.R.B. on the construction of the furniture. This commode with its two
folding vantail doors and off-centre keyhole is adorned with ninety plaques of porcelain from Sèvres, embedded in
the body of the piece. These plaques are held in place by interlacing bronze mouldings with roses at the intersections.
27
SECTION 10
MATErIALS
The furniture of the past has tr aditionally been associated with one fundamental
However, designers had a desire to innovate and surprise, and the use of
different materials led to the development of new shapes and veneering techniques.
Manufactured materials such as porcel ain, hard stone and polished metal, or unusual
materials such as straw, lead and steel enabled cabinetmakers to produce more varied designs and
to satisfy their clients in search of modernity and originality.
material: wood.
Varnished sheet metal commode
Pierre Macret
Paris, circa 1770
Made of oak and pine, sheet metal, gilt bronze,
white veined marble.
H. 0.895; L.1.363; W.0.623 m
Versailles, Musée National des Châteaux de
Versailles et de Trianon.
This commode was delivered to Marie-Antoinette,
at the time still heir apparent. It is evidence of the
young princess's curiosity, with her taste for
unusual furnishings. There were two
manufactuerers of varnished sheet metal in Paris at the time: the Veuve Samousseau and the Petite Pologne. Pierre
Macret, having recently become an arts purveyor although his productions more closely resembled cabinet making,
tried out the technique, but the few furnishings still in existence show its limited success.
Cabinet desk
Martin Carlin
Paris, circa 1780.
Made of oak, mosaic of marble and hard stone on slate, aventurine,
ebony, rosewood and amaranth veneer, gilt bronze, brocatelle marble
from Spain.
H. 1.185; L. 0.885; W. 0.425 m
This cabinet is based on a Martin Carlin model from the early 1770s
which was generally decorated with porcelain from Sèvres. The piece is
one of the rare examples of its kind to be adorned with panels of pietra
dura. Here they have been very skillfully mounted. The four plaques on
the door probably came from the same Florentine cabinet, dismantled
upon the orders of an arts-purveyor, most likely Dominique Daguerre.
Although some Florentine cabinets were imported to Paris during the
second half of the 18th century, it is almost certain that a small number of furnishings decorated with similar panels
could already be found in France from the late 17 th century.
28
SECTION 11
"GrEEK STYLE"
there was a change in taste towards the middle of
the 18th century. A new liking for the antique and a nostalgia of the "great century" of Louis XIV led
to the development of another aesthetic, with designs drawing inspiration from the Louis XIV era.
One of the outcomes of this change was the smoothing out of curved forms into straight lines.
The "Greek" st yle of furniture was started by a trip to Italy by the Marquis de Marigny,
organized in 1749 by his sister, the Marquise de Pompadour. Jean-François Œben designed the
commode that came to be known as the "Transition" style: the body was linear while the legs
retained their curves.
After the extr avagance of the rococo st yle,
Greek commode
Jean-François Œben
Made of oak, front made of solid mohogany, thick mahogany veneer, red marble (from Mayenne).
H. 0.84; L. 1.32; W. 0.56 m.
Private collection.
This type of commode was listed in the posthumous inventory of the Marquise de Pompadour. Such commodes were
mostly made of mahogany, which was relatively new at the time. In this case Madame de Pompadour ordered it
directly from Œben. In 1749, the Marquise had sent her brother, the Marquis de Marigny on an educational trip to
Italy, accompanied by the architect Soufflot among others. The Greek style became the new, more moderate fashion
after the Rococo style. The straight line regined its popularity.
29
SECTION 12
DESIGN AND OrNAMENTATION
The Louis XVI style
The Louis XIV style is characterised by the shape and
decoration of its furniture,
with a preference for straight
lines, but without completely
excluding curves.
outlines and shapes evolved Over the course of the century.
Straight lines were adorned
with gilt bronze decoration with varying degrees of lavihsness, and the use of veneer made from a
single species of wood (generally mahogany) became more and more popular.
At the same time, bronze decor ation revealed hints of sumptuously reinterpreted designs of the
past.
Armoire base section (from a pair)
Adam Weisweiler
Made of oak, ebony and mahogany veneer, Japanese lacquer, gilt bronze,
brocatelle marble from Spain.
H. 0.950; L. 0.605; W. 0.380 m
Paris, Musée du Louvre, Grog-Carven donation
Jean-Henri riesener
1734-1806
Born in Gladbeck (Westphalia), Riesener came to Paris
around the age of 20 and
started an apprenticeship
with Jean Francois OEben.
When OEben died in 1763, he
took over the workshop on
behalf of his widow, whom he
married in 1767. The following
year he became a Master of
the Art and continued to use
his former master’s workshop
and accommodation at the
Arsenal until at least 1798.
When Gilles Joubert retired
in 1774, he was made Cabinet-Maker to the King and
contributed a considerable
number of works incorporating all aspects of cabinetry to
the Royal Furniture Treasury.
From 1785 he started to lose
favour with the Treasury, but
his work was nonetheless
appreciated by the Queen for
a certain time. However, his
creations were less and less in
line with contemporary tastes
and were gradually replaced
by works by other artisans.
His business was also hit hard
by the Revolution. Riesener’s
work was in general fairly
angular, but was nonetheless
expressive. The decoration
covers all of the Louis XIV
style: initially consisting of
marquetry panels influenced
by Oebe, which later gave
way to single-wood veneer.
His furniture was frequently
adorned with high-quality
bronzes designed by the artisan himself.
This furniture shows the evolution of neoclassicism into the arabesque style at
the end of the 1760s. The corner pillars constructed of two superimposed
columns are classic examples of this style. The well balanced decoration adds
harmony to this piece designed for a living space, and the particularly
impressive frieze along the top resembles golden lace, accentuated by the black
ebony behind that covers the width of the drawer on top of the columns.
Weisweiler curved the corners of this drawer very slightly, ingeniously harmonising it with the rounded shape of the
columns.
JEAN-HENrI rIESENEr
THANKS TO HIS INFLUENCE,
finishes in marquetry attained an even higher standard. Like his
predecessors Boulle and Cressent, Jean-Henri Riesener designed his own bronzes which were
sometimes extremely grand. In general his furniture was fairly angular but was nonetheless
expressive.
Bureau in the Hameau de Trianon
Made of oak, amaranth, stained sycomore, gilt bronze
H. 0.760; L. 1.105; W. 0.625 m
Versailles, Musée National des Châteaux de Versailles
et de Trianon
Although this bureau has no stamp, its style classifies it
without doubt amongst Riesener's works. The lettres CT
marked beneath a crown prove that is was made for the Petit
Trianon, which at the time was the Queen's private residence. The number 84 painted in ink corresponds to one of the
rooms in the Queen's house in the hamlet dating from 1784, and whose furnishings date from 1785-1788 and later. The
lavishness and refinement of the furnishings contrast starkly with the feigned rusticity of the Hamlet's houses. After
1785, the Royal Furniture Treasury ceased to use Riesener, who nonethless never lost the Queen's favour, and his
designs became plainer and simpler.
30
SECTION 13
MONUMENTALITY AND STrAIGHT LINES
exceptional Commissions for l arge works
may have required input from architects, drawing
upon knowledge from the field of architecture.
Commode for Marie-Antoinette's grand cabinet
at Fontainebleau
Guillaume Benneman under the direction of Jean Hauré
Paris, 1786.
Mahogany, porcelain, gilt bronze, white marble.
H. 0.96; L. 1.82 ; W. 0.75 m.
Fontainebleau, Musée National du Château.
This commode is part of a well-known pair designed for
Marie-Antoinette's grand cabinet at the Château de Compiègne. The two commodes were adapted and finally placed
in the Queen's grand cabinet at Fontainebleau.
MECHANISMS
furniture obliged cabinetmakers to design
ingenious, complicated, precise mechanisms that led to the creation of multifunctional tables, rolltop desks and other pieces of furniture manipulated by crank handles, keys or cleverly hidden
buttons incorporated into the structure of the furniture.
The development of mechanical furniture was taken to great lengths by Jean-François Œben (the
King's CabinetMaker and Mechanic), Jean-Henri Riesener and David Roentgen.
The demand for new functions and multipurpose
Mechanical Roll-top desk
David Roentgen
Circa 1781.
Made of oak, mahogany veneer, gilt bronze, steel.
H. 1.48; L. 1.49; W. 0.83 m.
Versailles, Musée National des Châteaux de Versailles et
de Trianon
This roll-top desk is entirely veneered with mahogany
and decorated with gilt bronze in a purely classical style.
It stands on eight tapered legs. Impeccable cabinet work
is combined with precise, complex mechanisms. The
desk is a veritable safe: opening the the rigid roll-top and the many drawers and compartments requires complete
knowledge of the varied secrets embedded into the desk by its maker. Opening the roll-top unlocks three differently
sized compartments flanked by Doric gilt bronze columns topped with a triglyph frieze. Above, the main face of the
central compartment features a bronze medallion with a profile of Louis XVI, placed here by the bronzemaker
Denière in 1835 and suggesting a royal provenance. Little is known about the previous medallion it replaced, which
depicted a profile from aniquity. The entirety of the gilt bronze décor was found to be the work of the Parisian
bronzier François Rémond (around 1745‐1812).
31
PUrITY OF LINES
From the 1780s, straight lines became increasingly popular, leading to the creation of furniture
with very pure designs. As bronze decoration became more discreet, the linearity of the furniture
was emphasised by the grain of the veneer wood.
Table
Paris, circa 1780.
Made of oak, strengthened with walnut, varnished metal,
gilt bronze, antique green marble.
H. 0.790; L. 0.970; W. 0.515 m.
Paris, Musée du Petit Palais, Musée des Beaux-Arts de la
Ville de Paris
A new style arose in the mid-to-late 1770s. Tables and
consoles were built using a slab of ancient or precious
marble, resting proudly on legs of marble, cabinetry or
even metal, as seen in this table. Its four tapered and
channelled legs are columns ending in lotiform sabots atop a slightly flattened sphere; at the top of the legs, the
elegant capitals are scultped in the Composite Ionic order. The apron above them has four connecting corner dice
decorated on the two visible faces with a carved disk featuring a central flower and encircled by a cord. The four
edges of the apron are also decorated with a green-varnished metal, matching the table's antique green marble top.
On the two longer sides, a frieze of ivy creeper extends out from the central detail of a female face, all in gilt bronze.
The two shorter sides feature an ivy tendril, also in gilt bronze.
Commode from the private chamber of Louis
XVI
at Saint-Cloud
Adam Weisweiler (attributed to)
Paris, 1788
Mahogany, ebony, gilt bronze, white marble
H. 0.90; L. 1.45; W. 0.60 m
Compiègne, Musée National du Château
This item is the perfect example of the evolution
of Louis XVI commodes. With the exception of
the frieze on the drawers, the gilt bronzes
markedly highlight the structure and sections of the commode. Although it has no stamp, its form with the division
of the façade into three doors framed by fluted colums strongly suggests that it was made by Adam Weisweiler, one of
the principal cabinetmakers for the purveyor Daguerre. Moreover, the modern appearance of the commode
prevented it from being confiscated during the Revolution, although it was included in the Empress Joséphine's
chamber at the Tuileries, and then Marie-Louise's chamber at Compiègne thanks to its high quality bronze chasing
and the undeniable beauty of the mahogany.
32
JOINErY - THE CHAIr
Unlike cabinetry, furniture made by joiners did not use wood veneers or, by extension, veneer in
any other material (such as lacquer, porcelain, hard stones etc.). Woodworked furniture consisted
mainly of chairs, beds and consoles scultped either simply or lavishly. Equally, they were sometimes
painted, gilded or left plain. The design was then finished by the upholsterer, who filled and covered
it with a wide variety of materials such as silk, tapestry, leather and cane.
SECTION 14
CHAIrS
Stretchers
These are the ties in an X or
H shape connecting the four
chair legs.
Armrests / arms /
chair arm support
had stretchers connecting the legs to
strengthen the structure. Advances in manufacturing techniques later enabled joiners to get rid of
this restriction.
At the same time, they modified the position of the chair arm which was originally placed
directly above the front legs: it was moved backwards before regaining its initial position from the
neoclassical era. Louis XV-style chairs had curved chair arms to match the legs, whereas those in
the Louis XVI style were straight.
Almost all chairs made during the 17 th century
An armchair is a type of
chair: a seat on four legs with
a backrest, on either side of
which are two arms. These
arms consist of a horizontal
armrest and a chair arm
support, which is the vertical
part connecting the armrest
itself to the apron.
Pierre Crozat's armchair.
Gilt walnut, red and tan Morocco leather, red and white reps
lines. H. 1.11; L. 0.69; W. 0.56 m
Shown in its original condition, this armchair illustrates the
transition from the linear Louis XIV chair to the Louis XV
chair. The arms are positioned directly above the legs, and the
embellishments – which include acanthus, shells, gadrooning,
ova and latticework – are still in the Louis XIV style. However,
the lines are rounder, stretchers are no longer used, and the
piece as a whole is much more decorative, with an abundance
of masterful sculpting that features openwork, beautiful
gilding and recutting gesso. The two-tone red and tan Morocco
leather upholstery, separated by red and white lines, also plays
an important role, since the chair is significant in being one of the few surviving examples of onamentation in
antique leather.
33
SECTION 15
CUrVES AND COMFOrT
characteristic of chairs from the Louis XV period went hand
in hand with greater comfort. Chairs generally became lower and especially deeper. The arms were
more curved and the backrests had more defined countours.
The development of the full curve
Armchair
Louis Cresson (attributed to)
Paris, circa 1735. Beech and walnut, modern velvet.
H. 1.00; L. 0.83; W. 0.96 m
Paris, Musée des Arts Décoratifs
In the first half of the 18th century Parisian joiners were
particularly inventive when it came to chairs, creating pieces
suitable for multiple purposes, transforming shapes and
adopting the new trend of sculpted décor on wood panels
through the use of highly skilled sculpted ornamentation. This
voluminous armchair stands on beautifully curved squat legs
and features a deep, broad seat with cushion and high back,
elements that contributed to the comfort so sought after at the time, without quite turning it into a bergères or
duchess chair. The chair's proportions are large but well-balanced, and likewise its embellishments find equilibrium
between Rococo and naturalist styles, neither ostentatious nor excessive. This low-seated chair is a prime example of
early Rococo-style designs.
Queen's armchair and cabriolet armchair
Jean-Baptiste Boulard
Paris, circa 1760
Painted beech
Queen's armchair: H. 0.95; L. 0.65; W. 0.68 m
Cabriolet armchair: H. 0.86; L. 0.59; W. 0.62 m
The "Queen's amchair" has a flat backrest, whereas
the "cabriolet armchair" designed during the 18th
century has a curved back. These two seats are part
of a collection comprising eight Queen's armchairs, four cabriolet armchairs, six Queen's chairs including two with
stretchers, a screen and a sofa. Each series within this collection is distinguished by slight variations in the
decoration, suggesting that they were designed to be used together. In spite of the apparent simplicity of the carving,
these chairs were difficult to make because their form permitted no room for error. They are typical of the early 1760s
with their large, undulating shape and simple, rounded backrest.
34
PErFECTIONS AND NEW DESIGNS
Chairs with fixed
upholstery / chassis chairs
These two terms refer to
the way in which the chairs
were upholstered. The straps,
stuffing and cover (fabric
positioned over the top) of
chairs with fixed upholstery
was nailed to the structure,
whereas the garniture and
upholstery of chassis chairs
was nailed to an independent
chassis that could be removed
and replaced into the frame
of the seat and backrest.
garniture à châssis.
that
included wall tapestries and chairs in order to provide different furnishings for summer and winter.
However, this required either having two sets of furnishings used alternately, or having the
upholstery removed and a new upholstery added to the same set in order to use it in both seasons.
The tradition gradually declined over the course of the century.
The invention of the chassis chair whose garniture and upholstery were fixed to individual
chassis, enabled furnishings to be changed easily according to the season, and also reduced the cost
of chairs.
Throughout the 18 th century it was customary to have two sets of furnishings
Queen's chassis armchair (one of a pair)
Jean Boucault
Paris, circa 1758.
Gilt beech.
H. 1.07; L. 0.68 ; W. 0.59 m
Private collection
This piece is one of the greatest works by Jean Boucault, one of the most celebrated chair-makers of the 18th century.
Its notably fragmented shape and staccato sinuosity is typical of the "symmetrical Rococo" style of the 1750s. A sharp
structure is countered by playful, contrasting carvings and sculpted projections in the wood. The desire to break up a
chair's lines can be seen in the contemporary works by the chair-maker Heurtaut. The famous spiral scrolls
characteristic of Heurtaut's works can be seen here on the connector piece between the seat and the backrest. Also
notable is the particularly unusual nervy, staccato form of the arm support, the supple lines of the front legs, the
trompe-l’œil flower on a bar above the front legs, and the extraordinary, impetous moulding of the connector piece
between the armrest and crossbar.
35
SECTION 16
LArGE CHAIrS
Ever since the middle ages, chairs had been valued solely in terms of the fabric used to cover it.
Without this fabric, the object was worthless. Towards the end of the reign of Louis XIV, joiners
used high quality production and brilliant carving of the wood to create even more ornamental and
extremely lavish chairs. Painters and gilders also played an important role. Now, even without the
fabric, such furniture retains its intrinsic value.
Queen's chassis armchair, "regular" chair from the Ducal
Palace of Colorno
Nicolas-Quinibert Foliot, probably from a design by Pierre
Contant d’Ivry
Paris, circa 1749.
Gilt oak. H. 1.10; L. 0.75; W. 0.67 m
Saint-Petersburg, Hermitage Museum
An ingenious work in terms of composition and sculpture, this
chair is also an example of the Parisian style created for export,
an over-the-top demonstration of French skill and ingenuity.
The armchair was part of the furniture belonging to Louise
Elisabeth de France, the daughter of Louis XV, and was made
in Paris for her residence in Colorno (Italy). It still has its
original fabric and passementerie.
"Regular" Queen's armchair
Nicolas or Jean-Baptiste Tilliard
Paris, circa 1745
Gilt beech.
H. 1.13; L. 0.74 ; W. 0.60 m
This armchair is an excellent example of work by Parisian chairmakers at the height of the Rococo period (1730-1745/50). Although
short, this era was brimming with energy. Wholly asymmetrical,
chairs were covered with carvings. This piece has swirly and aligned
shells at the top and base of the backrest; a shell at the front of the
seat pulling the crossbar downwards and making it, too,
asymmetrical, and a fine join between the chair arm and the rest of
the chassis, with the horizontal armrest distinguished by a carved collection of stones and shells. In later years chair
legs became finer than the squat, fleshy examples here.
36
SECTION 17
FUrNITUrE SETS
It referred to a
collection of furniture of the same design and covered with the same fabric, and was soon adopted
in all upper-class homes. Sofas, confidantes, armchairs, chairs, stools, folding chairs and screens
were designed to create stylistically coherent ensembles. Consoles were also sometimes decorated in
the same style as the chairs. The largest sets for royal dwellings comprised around ninety items of
furniture.
The notion of meubles ("furnishings") originated in the 17 th century.
Nicolas Heurtaut
1720-1771
The son of Claude Heurtaut,
a sculptor specialising in
chairs, Heurtaut married the
daughter of the joiner Guillaume Antoine Destrumel.
He became Master Sculptor
at the Academie de Saint-Luc
in 1742. From 1742 to 1753 he
worked as a chair sculptor on
Rue de Clery for the joiners
Tilliard, Sene and most likely
Avisse and Saint-Georges.
In 1753 he became a Master
Joiner. He moved to Rue de
Bourbon (now Rue d’Aboukir) and worked as a Master
Sculptor and Joiner from 1753
to 1771.
Pair of Queen's armchairs (from a set of six) and a Queen's sofa with two moveable confidante chairs
Nicolas Heurtaut, probably designed by Pierre Contant d’Ivry
Paris, circa 1757.
Beech painted blue-green
Armchair: H. 0.96; L. 0.66; W. 0.59 m,
Sofa: H. 1.14; L. 1.95; W. 0.70 m,
Confidante chair: H. 1.06; L. 0.63; W. 0.70 m,
Sofa and confidante chairs: L. 3.30 m.
Private collection
These seats are part of a larger collection probably made for Martial Louis de Beaupoil de Sainte-Aulaire, bishop of
Poitiers. This collection has several new design features, notably the powerful sculpted curve between the armrest
support and the horizontal armrest itself, as well as the large spiral scroll connecting the backrest and seat, evoking
the scroll at the base of the legs. In terms of the sofa and its confidante chairs (moveable corner chairs), the
confidantes' form had to correspond exactly to that of the sofa they pair up with. For example, the outer legs of the
sofa and those of the confidante chairs only feature half the sculpted decoration, and the same is true of the "coup de
fouet" on the armrest support. The original lampas fabric with its pineapple design has been deliberately re-woven in
the original style.
37
SECTIONS 18 AND 18BIS
TrANSITION AND LOUIS XVI
THE rETUrN OF STrAIGHT LINES
Towards the end of Louis XV's reign, a backl ash against the excessively curved st yles
resulted in a return to straighter lines, heralding the Louis XVI style. The abandonment of curves
was nevertheless a gradual process, and many chairs made in the 1760s and 1770s combined the new
style with various characteristics from the former period. Decoration tended towards a more
naturalist representation of plant life, while still retaining features from older designs.
Georges Jacob
1739-1814
There was nothing to suggest
that Georges Jacob, born in
1739 to farmers in Burgundy,
would become the first joiner
of his generation! At the age
of sixteen he went to Paris
and did an apprenticeship to
become a Master in Wood
Carving in a workshop whose
Master remains unknown.
In 1765 he became a Master
Joiner and moved briefly to
Rue de Clery before going to
Rue Meslay, where his workshops grew and remained until
1847. Jacob was undeniably
responsible for all the Louis
XVI-style chair’s elegance,
establishing a fine balance
between the different parts
and using carvings that few
could equal. He was one of
the first joiners to use mahogany and to take inspiration
from English designs. He
innovated with shape and
form early on in the 18th
century, creating various bold
designs that led to the creation of Empire chairs. At the
end of the Revolution Jacob
retired, leaving his workshops
to his two sons. Having
diversified production, he had
incorporated the manufacture
of cabinetry items into his
workshops. When his eldest
son died (1803), he joined up
with his youngest son and the
two worked together until his
death in 1814.
Armchair from Louis XVI's Salon des Jeux at Saint-Cloud
Georges Jacob
Paris, 1788.
Gilt wood.
H. 1.00; L. 0.69; W. 0.60 m.
This armchair is part of the furniture commissioned for Louis XVI's
Salon des Jeux at the Château de Saint-Cloud. The ensemble consisted
of two sofas, two bergères chairs, twenty-two armchairs, twenty-four
chairs, six voyeuses chairs, four footstools, a screen and a folding
screen. Part of the collection disappeared after the Revolution, and
eight chairs are still missing from the set here. This armchair is typical
of Louis XVI decoration, judiciously apportioned between the
various components of the chair and accentuating its structure. It is
a prime example of the Louis XVI style and does justice to its
creator, Georges Jacob, one of the greatest joiners of his time.
38
COMFOrT AND rEFINEMENT IN THE NEW STYLE
to please customers
commissioning furniture. The wax mock-up piece for Marie-Antoinette's furniture in the Belvedere
of the Petit Trianon illustrates the production process. It features several design options for the
form and décor on the feet, apron, backrest and upholstery, so that the Queen could choose her
favourite. The finished chair fully reflects her taste, with the exception of the the tissue and
passementerie which are no longer present.
The desire for both comfort and luxury led to costly research
Bergère chair model
Attributed to Gilles-François Martin, from a design by Jacques Gondoin
Paris, 1780.
Coloured wax on a wood, cardboard and paper base
L. 0.14; H. 0.90; W. 0.90 m
This 1/7 scale-model was made by Gilles-François Martin, a sculptor and
pattern-maker to the Royal Furniture Treasury in 1780, under the direction of
Jacques Gondoin, the Treasury's designer. This piece was one of a set of eight
chairs and eight bergère chairs famously commissioned by Marie-Antoinette
for the Belvedere Pavilion at the Petit Trianon. The mock-up was one of the
many phases in the complex process of creating this piece of furniture. After
drafting large-scale drawings of the chair and bergère chair, Gondoin asked Martin to create a three-dimensional
"small-scale model of the [bergère] armchair and the chair" out of wax, a malleable and modifiable material. Different
design options can be seen on this model: armrest supports in the shape of a mermaid or or lion's head and
shepherd's hook; legs resembling a quiver of arrows or a ribbed or smooth torso, and even with animal claws for feet.
"Regular", "light cabriolet" chair, chassis chair ( for the seat)
François-Toussaint Foliot, from a design by Jacques Gondoin
Re-gilded beech.
H. 0.89; L. 0.56; W. 0.56 m
Versailles, Musée National des Châteaux de Versailles et de Trianon.
After Gondoin's modelling process, François-Toussaint Foliot, joiner to the
Royal Furniture Treasury, was commissioned to make the chairs. The eight
bergères chairs and eight chairs were delivered to Marie-Antoinette in July
1781. They were described as having "Roman-style wood" and were garnished
with cushions. They also featured a skirt of heavy cloth draping (see mock-up
above) and silk painted by Gondoin himself with extraordinary floral motifs
and arabesques.
Alas, although this set was amongst the most expensive furniture created for
Marie-Antoinette, it was the swansong of the Foliot family. Nevertheless, when unveiled these new-style chairs would
come to influence an entire generation of chair-makers and artists.
39
GrAND CLASSICISM, EXOTICISM AND MODErNITY
Although antiquit y was the prevailing influence for the Louis XVI st yle, it was not the
cabinetmakers and chair-makers were also inspired by exotic designs that they reinterpreted and adapted to suit the tastes of their clientele. Chinese and Turkish elements, for
example, offered fanciful alternatives to Roman shapes and décor.
On the other hand, a desire for simplicit y led joiners to design chairs with a purity of line and
an astonishgly modern-looking form.
only one:
Queen's armchair belonging to the Marquise de Marbeuf
Georges Jacob
Painted walnut
H. 1.02; L. 0.66; W. 0.60 m
Barnard Castle (Durham), The Bowes Museum
This armchair was made for the Marquise de Marbeuf's chamber in
her Parisian manor. The Chinese influences in the design illustrate
the quest for exoticism characteristic of the 1780s and 1790s. Jacob
used a classical Parisian structure from the 1780s with its slender,
smooth tapered legs, square seat and fine, sculpted frieze ties, to
which he added elements from pagodas and Chinese furniture.
Notably, the curved tie at the top of the backrest was directly inspired
by a pagoda motif, with its three quarter-circle scrolls and two flat
ends extending over the vertical supports.
40
LOUIS XIV, LOUIS XV, LOUIS XVI: THE ArT OF JOINErY
Consoles were made to be embedded into the architecture of a room,
and were usually
positioned below mirror trumeaus and could be used to supplement the existing décor. They were
often designed by architects. The three consoles exhibited here illustrate all the stylistic evolutions
and ornamental work characteristic of the 18th century siècle, from the end of Louis XIV's reign to
the fall of the Ancien Regime.
Large console table
Paris, circa 1720.
Sculpted, gilt oak, red marble from Rance. H. 0.96; L. 1.69;
W. 0.80 m (including the marble)
Paris, Musée des Arts Décoratifs
Console tables were consdidered to be the work of joiners, and were
first and foremost architectural furnishings that used significant amounts of gilt wood. They originated in the late 17 th
century around the same time as trumeau mirrors. This console, designed to be placed against a wall and viewed
from the front, only has sculpted décor on three of the four sides. Its creation required the work of architects, artists
and sculptors. Its outline is evocative of the "Grand Siècle" and the overall design offers a skilfully ordered sort of
ornamental fantasy, which nonetheless depends on the structure, and which hints at the coming Rococo style.
Wainscoting console. Nicolas Heurtaut
circa, around 1758.
Re-painted oak, yellow Brèche marble from Sériny.
H. 0.95; L. 1.73; W. 0.85 m.
Château de Villarceaux, Conseil régional d’Ile-de-France
This console is characteristic of the "symmetrical Rococo" style of the
1750s, with a vibrant structure and an asymmetrical "walnut"
stretcher reinforced by a robust, symmetrical openwork shell in the centre and other shells, also symmetrical, at the
top of the legs. At the top of the walnut is an outlined heart-shaped cartel iconic of the post-rococo years. These
features were typical of Heurtaut, as were the piece's expansive shapes, broad wood pieces and deep, nervy sculpture
work. Notably, this is the only known console stamped by the chair-maker. Console tables were usually the work of
building woodworkers, who differed from chair-makers in that they worked primarily on wall-related projects,
including console tables fixed against walls. In creating this piece Heurtaut took on the role of a building
woodworker, which was unusual but not illegal in the trade.
Console
Paris, circa 1785.
Sculpted gilt oak, white marble. H. 0.980; L. 2.275; W. 0.890 m
This console demonstrates the neoclassicism of the 1780s, which used
antique, military-style decoration combining Roman lictor fasces, helmets, trophies, collections of weapons,
depictions of Hercules and a lion's muzzle, as well as symbolic floral decoration generally consisting of oak, laurel
and olive trees. The artists who worked in this style included Jean Charles Delafosse, Richard de Lalonde, Jean
Démosthène Dugourc and François Joseph Belanger. Although there are lily flowers (symbolic of the French
monarchy) on the stretchers and the palmettes on the apron are identical to those sculpted on the pediment of the
backrest of the Queen's bed at Fontainebleau (1787), nothing suggests that this impressive console was made in
connection to a piece destined for a royal dwelling, even though it possesses all the necessary qualities.
41
SECTION 19
THE QUEEN'S JEWEL CASE
This displ ay case harks back to the l avish st yle of 17 th -century cabinets.
Along with the
one made at the same time for the Comtesse de Provence, now in the English royal collection,
Marie-Antoinette's jewel case was the last piece of ceremonial furniture of the Ancien Régime.
It is L avishly decor ated with gilt bronze, mother-of-pearl, reverse glass painting and
porcelain plaques and its "arabesque" style decoration heralds the prevailing tastes of the 1790s. It
also bears hints of the Directoire style and even later decades.
Marie-Antoinette's jewel case
Ferdinand Schwerdfeger
Paris, 1787.
Made of oak, mahogany, mother-of-pearl, reverse
glass painting, ivory, hard-paste porcelain from
Sèvres, gilt and silvered bronze, iron, green sea
marble. H. 2.630; L. 2.072; W. 0.650 m
Exceptionally ornate, this jewel case uses a wide
range of materials, including decorative reverse
glass paintings in the Pompeian style by JeanJacques Lagrenée the younger, cameos painted by
Jacques-Joseph Degault that were partially
replaced the following year with new cameos by
Sauvage, as well as gilt bronzes designed by
Boizot, cast by Martincourt, chiselled by Thomire
and gilded by Mellet. The porcelain factory in
Sèvres supplied the blue and white medallion
displayed in the centre of the apron, as well as the
two beautiful blue vases that once sat on the stretchers of the base and which disappeared in 1830. The great round
gilt-bronze bas-relief adorning the centre vantail door represents the Arts. The four imposing bronze caryatids
spaced out along the façade symbolise the seasons. On the top of the piece Strength, Wisdom and Abundance once
bore a royal crown that has since been lost.
The "diamond chest" stands on eight legs carved in the shape of quivers. It has three vantail doors and numerous
drawers. It is a picture-perfect revival of cabinet styles popular long before in the 17 th century but abandoned since
the reign of Louis XIV.
PArT III
IN CONNECTION WITH THE EXHIBITION
44
Part III — In connection with the exhibtion
PUBLICATIONS
Exhibition catalogue
18th century, birth of design
furniture masterpieces 1650-1790
Co-publishers: Faton – Château de Versailles
Size: 23 x 30 cm
280 pages
Price: €42
English version.
THIS CATALOGUE,
published for the sumptuous exhibition at the Palace of Versailles, reveals the
incredible creative force at work during the Enlightenment, when furniture-making became an art
for the first time.
During this er a , architects, artists, merchants and simple artisans came together to give new form
to wood creations, shaping furniture into something the world had never seen.
Furnishings received new finishes and took on new silhouettes, exploring new materials and
seeking different outlines for the first time. Artisans threw off the shackles of architecture while
simultaneously playing with it and mimicking its styles. Furniture became lighter in tone, and
comfort and luxury took on a larger role. Daily activities became closely tied to furniture, which
came into its own during this time. The relationship between the individual and furniture became
starker.
Owing to their structure and ingeniousness and the incomparable quality of their artisanry,
18th-century furnishings became a mainstay of daily life and fashion, with all the era's trends and
styles. Along the way, furniture-making acquired new status and recognition, known forever after
as an intellectual design process.
CONTENTS
- Foreword by Catherine Pégard
- Foreword by Béatrix Saule
- Foreword by Patrick Hourcade
- A study of French 18th-century furniture: a history by Daniel Alcouffe
- The golden age of French furniture. The status and statutes of cabinetmakers, the role of
intermediairies, conditions and creation processes by Alexandre Pradère
- Parisian furniture in the 17 th century by Daniel Alcouffe
- The Regency and Louis XV styles (1700-1755) by Bill G.B. Pallot
- The Greek style and its development (1755-1774) by Thibaut Wolvesperges
- The Louis XVI style by Yves Carlier and Anne Forray-Carlier
45
list of Authors
- Daniel Alcouffe, Honorary Curator General, Musée du Louvre, Paris.
- Yannick Bapt, Art Historian.
- Yves Carlier, Curator General, Musée National des Châteaux de Versailles et de Trianon.
- Calin Demetrescu, Art Historian.
- Anne Forray-Carlier, Head Curator in charge of the 17 th and 18th Centuries Department,
Musée des Arts décoratifs, Paris.
- Jean-Jacques Gautier, Inspector, Mobilier National, Paris.
- Patrick Hourcade, Photographer and designer.
- Gérard Mabille, Honorary Curator General, Musée National des Châteaux de Versailles et de
Trianon.
- Étienne Martin, Head Curator, Musée des Arts décoratifs, Strasbourg.
- Patrick Lemasson, Head Curator, Petit Palais, Musée des Beaux-Arts de la Ville de Paris.
- Patrick Leperlier, International Advisor in furniture and objets d'art.
- Bill G.B. Pallot, Associate Professor, University of Paris IV – Sorbonne, Art Expert, Art
Historian.
- Marc-André Paulin, Head of Artwork, Head of the Furniture Restoration Workshop, Centre
de Recherche et de Restauration des Musées de France, Paris.
- Alexandre Pradère, Ancient Furniture Expert, Art Historian.
- Jean Vittet, Head Curator, Château de Fontainebleau.
- Tamara Rappé, Head of the Western Europe Decorative Arts Department, Hermitage Museum,
Saint-Petersburg.
- Thibault Wolvesperges, Lecturer and Head of the Modern Decorative Arts Department,
University of Paris IV – Sorbonne, Expert in artworks.
E XHIBI T ION A LBUM
Album in French
48 pages
21.5 x 28.5 cm
€10
Publishers: Faton and Château de Versailles
46
Part III — In connection with the exhibition
JEAN NOUVEL ABC
JEAN NOUVEL ABÉCÉDAIRE
e
18 lettres pour le XVIII siècle
ARCHITECTURES D’INTÉRIEUR
18 letters for 18th-century
interior architecture
of this unique collection of creations from the 17 th
and 18th centuries is intentionally partial and fragmentary.
JEAN NOUVEL'S VIEW
VISITORS WILL COME ACROSS HIS observations and thoughts
throughout the exhibition,
with this ABC which is at the same
time both pertinent and impertinent. Published as a limited edition by
the Palace of Versailles.
A free copy will accompany purchases of the Exhibition catalogue in an exclusive offer at the
Pal ace of Versailles online boutique: www.boutique-chateauversailles.fr
In French and English.
18 let ters for 18 key words
Architecture, Assemblage, Audace, Art, Apothéose, Arts appliqués
Broderies, Beauté
Caresse, Chef-d’œuvre, Caractère, Commande, Composition, Correspondances
Dispositifs, Déplacement
Équilibre, Échos, Ergonomie
Folies, Féerique
Galbe, Grand Siècle, Génie
Haute précision
Intelligence, Imagination
Jubilatoire
Laques, les Lumières
Mécanicien, Magicien-mécanicien, Mutation
Ors
Paysages, Peintures, Proportion, Précis, Précieuse, Privilège, Poésie
Résonance
Symétrie, Style, Structure
Typologies, Techniques
Virtuosité, Versailles
47
A
A
Architecture [D‫ݕݒ‬LW‫ܭ‬NW\‫ ]ݒ‬n. f. — 1504 ; lat. architectura 1 L’architecture est celui
des beaux-arts dont les œuvres, conçues et exécutées dans l’espace à trois
dimensions, sont des édifices ayant une destination fonctionnelle précise, en
rapport avec les grandes activités matérielles, sociales ou spirituelles de la vie
humaine. Le plus souvent, ces édifices se distinguent des autres œuvres d’art
à trois dimensions par l’existence et l’importance fonctionnelle d’un espace
intérieur.
2 De tout temps, les théoriciens se sont préoccupés de distinguer
l’architecture, considérée comme un des beaux-arts, de l’art de bâtir, considéré
comme une activité technique et non esthétique. « L’architecture est l’allégorie
de l’art de bâtir », Schelling. L’architecture est « l’art d’arranger et de décorer
les édifices élevés par l’homme, quelle que soit leur destination, de façon que
leur vue contribue à la santé, à la force et au plaisir de l’esprit », Ruskin. « La
construction est faite pour tenir, l’architecture pour émouvoir », Le Corbusier.
ranger
Commande de
Louis XIV d’une paire
de « bureaux »
1708
Commande de
Louis Alexandre de
Bourbon, comte de
Toulouse
1720
écrire
s’asseoir
Commande de
Nils Bielke à Paris
1680
se poser
Commandé pour
la comtesse de Mailly,
favorite de Louis XV
1742
poser
se toiletter
Commande de Louise
Élisabeth de France,
Infante de Parmevers
1749
Commande de Martial
Louis de Beaupoil de
Sainte-Aulaire, évêque
de Poitiers
1757
classer
Comme une architecture, ces meubles sont nés d’une commande.
J
Jubilatoire [‫\ݤ‬ELODWZD‫ ]ݒ‬adj. — 1828 ; de jubiler 1 Qui permet de se réjouir
vivement, d’éprouver une satisfaction intense sans extérioriser sa joie.
secrétaire
marqueterie de paille
Comme une architecture, ces meubles ont pour première raison, mais aussi comme parfaite excuse,
une fonction liée à un usage quotidien.
L
Laques [lak] n. f. pl. et m. pl. — xve lacce ; lat. médév. lacca, arabopersan lakk,
hindoustani lakh 1 Né en Chine, l’art de la laque, après avoir été un simple
mode de protection des ustensiles courants, soit un art indigène, devient au
viie siècle un art codifié. Il nécessite une habilité étourdissante. Une des plus
grandes qualités de la laque et qui la différencie de tous les produits d’imitation
est la profondeur de sa matière.
armoire
andré charles boulle
serre-bijoux
ferdinand schwerdfeger
serre-bijoux
ferdinand schwerdfeger
secrétaire en cabinet
martin carlin
armoire
bernard ii vanrisamburgh
dit b.v.r.b.
armoire
bernard ii vanrisamburgh dit b.v.r.b.
De nombreux détails marquetés, sculptés et peints trahissent le plaisir des artistes,
à quel point ils se sont délectés à transmettre la légèreté, la poésie, l’ironie et l’humour…
Somptuosités, mystères et profondeurs orientales…
l’art de la laque transfigure le meuble en tableaux, en invitation au rêve et à la fugue exotiques…
48
Partie III — In connection with the exhibition
THE ÉCOLE BOULLE AT VErSAILLES
Through a Partnership with the École Boulle, an applied arts
graduate school and secondary school for crafts, interior architecture and
design, there will be seminars and meetings held with the school's pupils
and professors during the exhibition.
Workshops
Cabinet-making
and carpentry
20th, 22nd, 27 th, 29th
November, 11th, 13th, 18th
December 2014, 15th, 17 th,
22nd, 24th January and 12th
February 2015.
Marquetry and
sculpting
6th, 8th, 13th, 15th November,
4th, 6th December 2014, 8th,
10th January, 5th and 7 th
February 2015.
Free admission.
Saturday mornings from
10am to 12:30pm in addition
to the exhibition visit.
Bookings for school groups,
card holders and visitors
with special requirements
available on Thursdays and
Saturday afternoons.
Information: 00 33 (0)1 30 83
78 00
The school is participating in two ways:
- practical demonstration workshops on Thursday afternoons and
Saturdays, in term-time only; with students and a professor;
- a permanent display at the exhibtion entrance with educational films
and items connected to furniture-making.
THE ÉCOLE BOULLE
The école Boulle is one of the leading French schools for art,
applied arts and design. It
is a prestigious institution that has been renovated and modernised by the City of Paris, and whose
renown and longstanding prominence (it was opened in 1886!) have never stood in the way of
progress, with its educational staff regularly implementing new teaching practices, methods and
structures.
In recent years for example,
highly esteemed (and widely envied) degrees in architecture,
products and objects have been developed in addition to the thirteen arts already existing, which
include cabinetmaking, jewellery design, upholstery, sculpting, turning art, chasing and engraving.
Enjoying strong links with the local community, the school is also developing an ambitious
international program.
The exploration of new experimentational structures allows the school's students to pursue their
studies further than they would with ordinary qualifications, while the school prioritises quality
and precision. Its use of digital technology and its quest for pure, contemporary lines illustrates the
school's innovative, modern outlook, although it still preserves the invaluable historical heritage of
artistic, creative skills.
from all social backgrounds. With the support of
various organisations and sponsorships, its strength lies in its desire to pomote success and
excellence in creative work and thinking, regardless of sociocultural origins.
The school welcomes students and adults
Christophe HESPEL,
Head of the École Boulle.
49
Partie III — In connection with the exhibition
MAÎTrES D'ArT VISITS
A Maître d’Art (Master of Art) is a benchmark
who posseses exceptional skills and
knowledge. The Master is renowned amongst his peers for his
experience, expertise and teaching skills. He must be able to
pass on his know-how and ability to students so that they can
carry on his work.
professional
was inspired by the "Living National Treasures"
of Japan: Masters of Art transmit their knowledge of excellence, strive to advance their profession,
and demonstrate innovation.
The creation of the official Maître d’Art title
Today there are 107 Maîtres d’Art in Fr ance,
78 of whom are working. The title is bestowed
upon them by the Minister for Culture and Communication.
and the Maîtres d'Art
association aims to highlight the techniques and knowledge of artisanry and showcase the
collections of the Palace of Versailles.
The partnership between the exhibition "18 e , aux sources du design"'
"Expert exhibition visits" by the Maîtres d'Art
will share their specialist
perspective with visitors on selected items. The visit will be a dialogue between the Maître d'Art and
the public, allowing visitors to understand his speciality in greater detail.
Through their targeted exhibition visits, the Maîtres d'art
Maîtres d'Art present: Flaconneur and Glass Blower; Paper-Embosser, Printer and Velvet Shearer;
Straw Inlayer; Gold Thread Embroider; Lacquer Artist; Gold-Beater; Fan Maker; Cabinet-maker/
Restorer; Art Deco Cabinet-maker; Woodcarver and Ornament Designer; Artistic Brass Turner.
These visits are only avail able to "A year in Versailles" card holders
Forty or so visits are scheduled.
For bookings and more information visit www.chateauversailles.fr/abonnement
PArT IV
EXHIBITION PArTNErS
52
Part IV — Exhibition partners
Sponsors
has led it to establish a more global framework
for its work in support of causes in the public interest. The creation in 2013 of the Nexans
Foundation was thus a natural extension of the Group's work, enabling the initiatives of its
international subsidiaries to become more professional by uniting them all within a single
perspective. The Foundation provides a common framework for the actions supported, in line with
the Group's strategy and values.
Nexans' ongoing international development
Access to Energy is a matter of prime importance
do not have access to energy and at least 2.7 billion do not
have access to hygienic cooking facilities. More than 95% of these people live in Sub-Saharan Africa
or in developing countries in Asia. Estimates predict that 1 billion people will still not have access to
energy in 2030, and there will be no improvement in access to hygienic cooking facilities.
Through its Foundation, Nexans has decided to help bring electricity to poorer communities all
over the world, prioritising on-the-ground associations and sustainable solutions.
Following its first call for projects in April 2013, the Foundation's Selection Committee and
Management Board decided to financially support 10 projects working to bring electricty to
villages, schools and education centres in Togo, Burkina Faso, Mali, Morocco, Laos, Madagascar
and Cameroon; more locally, the Foundation is supporting a project to combat the unstable energy
situation in the French region of Isère. In addition, the Management Board granted exceptional
assistance to Électriciens sans Frontières for the construction of a sustainable village to house 2,000
people after Typhon Haiyan struck the Philippines in November 2013. In 2014, 11 projects to bring
electricity to villages, schools, orphanages and health centres located principally in Africa were
chosen.
Today More than 1.3 billion people
Contacts
Press Nexans
Angéline Afanoukoe
Tél. : +33 (0)1 73 23 84 12
angeline.afanoukoe@nexans.
com
Fondation Nexans
Pascale Strubel
Tél. : +33 (0)1 73 23 85 28
[email protected]
Giving a new dimension to the sponsorship agreement with
the Palace of Versailles
Through the Nexans Foundation, Nexans has also decided to continue its partnership with the
Palace of Versailles. This commitment demonstrates the Group's desire to remain faithful to a
relationship built up over the years to help keep the Palace in its rightful place as France's premier
site of artistic creation and excellence.
53
founded in 1811, has always had a unique relationship with the world of
Design and Applied Arts. Ever since its its Cuvée de Prestige Belle Epoque was decorated by Émile
Gallé, the Maison has on numerous occasions benefited from regular artistic collaborations with
well-known contemporary designers such as Makoto Azuma, Tord Bootje, Simon Heidjens and Vik
Muniz. In addition, it has been an exclusive partner of Design Miami since 2012.
Maison Perrier-Jouët,
Contact
Élisabeth Ricard
[email protected]
and passion for Design that the Maison is proud to count
itself among the sponsors for "18e, Aux sources du design – Chefs-d’œuvre du mobilier de 1650 à 1790"
held at the Palace of Versailles from 28th October 2014 to 22nd February 2015.
IT IS THUS WITH THE SAME ENTHUSIASM
54
Part IV — Exhibition partners
MEDIA PArTNErS
For "18 e , aux sources du design" at the Pal ace of Versailles,
ARTE will broadcast the
documentary "Le mobilier de Versailles et ses héros" (The furniture of Versailles and its heroes), by
Fabrice Hourlier.
The documentary will expl ain the history of Versailles in a new way, focusing on its
incredible furnishings. The priceless furniture is listed as UNESCO World Heritage and bears
tangible and perennial witness to the life of the illustrious men who commissioned it, as well as to
the talent of those who made it.
Delve into the heart of Versailles over a period of 3 centuries (from the reign of Louis XIV to the
Second Empire) with an object or item of furniture as a starting point. The documentary
establishes a direct link between the illustrious clients, the objects of their desire and the creators,
and pays tribute to the work of the furniture-makers who produced items of such refinement and
detail. Providing an insight into the private life of a ruler and symbol of an era, it reveals the social,
political and economic context of the time, as well as the ambitions of individuals, and unveils the
personality of the presitigious clients. It will also reveal the successful combination of art and
technique that was mastered by the greatest craftsmen of each period.
To be broadcast on ArTE during the first quarter of 2015.
55
Fr ance's number one cl assical music station
Radio Classique attracts more than a million listeners a day thanks to the elegance, quality and
accessibility of its programs. Our presenters - Ève Ruggiéri, Christian Morin, Élodie Fondacci,
Laure Mézan, Alain Duault, Olivier Bellamy, Claire Chazal and Albina Belabiod– play a vital role,
transmitting their emotion. The station's greatest strength is its calming effect through the finest
classical works. It is a radio station for enjoyment, suspending time and providing an oasis away
from stress and the frantic rush of day-to-day life.
a relevant, analy tical approach to news
Radio Classique offers two major news shows in the morning and evening. We are committed to
providing relevant information analysed with discernment. Guillaume Durand (8am-9am) and
Patrick Poivre d’Arvor (7pm-8pm) lead discussions with well-known experts, editorial writers and
journalists.
r adio Cl assique on tour
Besides programs, the radio station is continuing its events work to promote classical music all
over France, broadcasting fifty or so major concerts live and showcasing local diversity and talent.
It is also increasing the number of local stations in the major cities of France, in order to reach out
to its listners and offer original programs.
Connaissance des Arts gives its readers the keys to a better
understanding of art across all eras, from archaeology to contemporary creation, garden art to
photography, design to architecture. Alongside its monthly periodical (11 issues per year),
Connaissance des Arts publishes 40 or so special issues and art books each year. It also boasts a
strong online presence with Connaissancedesarts.com, the benchmark site for all national and
international arts news with articles, portfolios, podcasts and videos. Connaissance des Arts now
comes in a digital version with its app offering enriched photos and videos.
WITH ITS HIGHLY DIVErSE PUBLICATIONS,
keeps its readers abreast of international events.
Exhibitions, auctions, trade fairs and seminars are all put under the spotlight by leading journalists
and experts.
EACH MONTH CONNAISSANCE DES ArTS
56
EACH WEDNESDAY, FIGArOSCOPE,
the Paris Ile-de-France cityguide produced by Le Figaro, takes a
look at the main cultural trends of the moment as well as not-to-be-missed exhibitions.
ON FrIDAYS, IT IS THE NEW FIGArO MAGAZINE that raises the curtain on the best events and most
emblematic artists in its pages illustrated with magnificent photos.
ON ITS WEBSITE, in addition to its weekly music and cinema programs such as Le live and Le clap,
the Figaro Group offers an innovative digital platform dedicated to the art market: Lefigaro.fr/
encheres. This page offers varied editorial content as well as the opportunity to take part in online
auctions.
FIGArOSCOPE IS DELIGHTED
to partner the "18e, aux sources du design" exhibition .
EVErY FrIDAY THE GAZET TE DrOUOT
gives readers everything they need to buy and sell at auctions.
FAVOUrITES, ANALYSIS OF THE L ATEST TrENDS, POrTr AITS OF ArTISTS, EXCLUSIVE INTErVIEWS…
With its announcements and results of auctions, La Gazette Drouot is an indispensable guide to
the art market. With 9000 pages and almost 50,000 photos each year, it offers the most complete
range of information of all the trade press titles. Internationally, La Gazette Drouot offers two
interactive issues, in English and Chinese.
L A GAZET TE DrOUOT, THE VErY BEST OF ArT AND CULTUrE.
www.gazet te-drouot.com
57
L’Express Styles offers the same quality and
editorial rigour as the daily paper. A unique slant on contemporary styles, delivering both pleasure
and good sense.
THE WOMEN'S WEEKLY FrOM NEWS GrOUP L'EXPrESS,
L’EXPrESS ST YLES DECIPHErS, ANALYSES AND CAPTUrES OUr Er A . Its ambition is to surprise, move,
and stimulate: with its bold lines, unmissable selections, and original creations it offers a style that
is always accessible.
is an exclusive, contemporary, aesthetic and elegant read, offering up the
unexpected on a weekly basis.
L’EXPrESS ST YLES
Paris Mômes is a cultur al guide for parents of children aged 0 to 12.
Since its first issue
hit the shelves in 1997, the magazine has been a prominent supporter of artistic creations aimed at
younger audiences: theatre, cinema, visual arts, publications, music… Paris Mômes is also a
partner of various cultural events which are suitable for families.
The magazine’s Exhibition section helps young readers to discover everything from modern art to
traditional crafts, in the firm belief that art can stimulate the imagination of kids of all ages. The
magazine also organises its own events, including the Fête de la Musique for kids at the Cité de la
Musique, the Nuit Blanche for kids and a whole host of activity guides for the latest exhibitions,
making it easier for parents to take their children with them to galleries and museums, with a few
pointers to help youngsters understand the works on show.
Guided by the principle of cultural openness, the editorial line at Paris Mômes is strongly in favour
of original artistic endeavours, and initiatives which call for collective involvement and a spirit of
citizenship. Deeply involved in the cultural life of the region, Paris Mômes offers a new perspective
on Paris and the Ile-de-France.
PArT V
APPENDICES
60
Practical information
The Palace of Versailles online
for more
Get all the daily news and behind-the-scenes info about the Palace in pictures and video.
www.chateauversailles.fr
information
Château de Versailles
@CVersailles
T : + 33 (0)1 30 83 78 00
Château de Versailles
http://www.youtube.com/chateauversailles
How to get to the Palace from Paris
RER train line C, direction Versailles Château - Rive Gauche
SNCF trains from Montparnasse station, direction Versailles - Chantiers
SNCF trains from Saint-Lazare station, direction Versailles - Rive Droite
Bus line 171 from Pont de Sèvres, direction Versailles Place d’Armes
Motorway A13 (direction Rouen), exit signposted Versailles-Château
Parking at the Pl ace d'Armes.
Opening times
The exhibition is open every day except Mondays and except for 25 December and 1st January. Opening
times: 9 am to 5.30 pm,
(last admission at 4.45 pm), ticket offices close at 4.50 pm.
Every day except Mondays.
Admission fees
Exhibition accessible with the "Passport" or "Château" tickets and the "1 year at Versailles" card.
Free for EU residents aged under 26.
Château ticket: €15, discounted rate €13, free for EU residents aged under 26.
1-day Passport granting access to the Palace, gardens, Trianon palaces and Domaine de MarieAntoinette, and to temporary exhibitions: €18
2-day Passport granting access for 2 days to the Palace, gardens, Trianon palaces and Domaine de
Marie-Antoinette, and to temporary exhibitions: €25
Audioguide
An audioguide tour is available in French, English and Spanish.
It offers a better understanding of the exhibition based on 16 emblematic pieces.
Audioguide free of charge; age 8 and over.
61
The exhibition with your family
Free discovery tour for kids aged 8-12
POUR
S
LE
Livret
jeu
EN
FANTS
18e,
aux sources
du design
Chefs-d’œuvre
du mobilier
1650 à 1790
Du 28 octobre 2014
au 22 février 2015
In partnership with Paris Mômes
Available at the entrance to the exhibition and at the reception and information
points at the Palace.
Downloadable at: www.chateauversailles.fr
Workshops for kids aged 8-12
Family activities (from 8 years), on 26 and 28 December, 8 and 15 February 2015.
r ates:
Free of charge for children under 10. 10-25 years: €7. Over 25 years : €7 + admission fee.
Booking compulsory, by phone on +33 (0)1 30 83 78 00
or by email: [email protected]
Guided Tours
Guided tours of the exhibition
am: 4, 13, 19, 23, 25 and 28 November; 2, 6, 12, 18 and 24 December; 7, 10, 16, 24 and
27 January; 3, 6, 12, 20 and 22 February.
2.30 pm: 6, 8, 12, 16, 27 and 30 November; 4, 5, 9, 10, 17 and 20 December; 14, 18, 22, 28 and
30 January; 4, 8, 10 and 19 February.
Duration: 1hr30
10.30
: €7 + admission fee. Free of charge for children under 10 and for people accompanying
disabled visitors.
Booking compulsory, by phone on +33 (0)1 30 83 78 00 or on-site on the day (subject to availability).
r ates
Palace of Versailles online store
www.boutique-chateauversailles.fr
Limited-edition bags and accessories
made from the exhibition's banners.
Collection available from April 2015.
Book now at: www.boutique-chateauversailles.fr
Booklet: 18 letters for the 18th century. Interior architecture
JEAN NOUVEL ABÉCÉDAIRE
18 lettres pour le XVIIIe siècle
ARCHITECTURES D’INTÉRIEUR
Jean Nouvel gives an intentionally partial and fragmentary view of this unique collection of 17 thand 18th-century creations. The exhibition enriched with his observations and thoughts has resulted
in this pertinent yet impertinent ABC, published as a limited edition by the Palace of Versailles.
Free of charge for all purchases of the exhibition catalogue, exclusively at the online store.
Available in French and English.
62
Visuals available to the press
These visuals are free of rights, but only for the promotion of the exhibition "18e, aux sources du Design,
Furniture Masterpieces, 1650 to 1790" presented at the Palace of Versailles from 28th October 2014 to 22th
February 2015.
Ebony cabinet
Paris, circa 1645
Collection Emmanuel Crenne
Photo: All rights reserved
Cabinet
Paris, circa 1675
Musée des Arts Décoratifs de Strasbourg
© Photo Musées de Strasbourg, musée des Arts décoratifs/ M. Bertola
Commode
André Charles Boulle (1642-1732)
Paris, 1708.
Versailles, musée national des châteaux de Versailles et de Trianon
© Château de Versailles, Dist RMN-Grand Palais / Christophe Fouin
Double vantail commode with dr awers
Paris, circa 1730.
From the collections of Marie-Anne de Bourbon, Princess de Conti
Les Arts Décoratifs, Paris
© Les Arts Décoratifs, Paris / photo Jean Tholance
Low bookcase
Antoine-Robert Gaudreaus (circa 1682-1746)
and Jean-Henri riesener (1734-1806)
Paris, 1744 et 1784.
Paris, Ministère de la Marine, service des collections du cabinet du chef d’état-major de la Marine.
© Mobilier national, Paris / Isabelle Bideau
Commode
Antoine-r+obert Gaudreaus (vers 1682-1746)
Paris, 1744
Made for the chambers of Louis XV at the Château de Choisy
© Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin
63
Commode
Bernard II VanrisenBurgh (aka) B.V.r.B. (after 1700-1766) under the
direction of Thomas-Joachim Hébert (1687-1773)
Paris, 1737.
Paris, musée du Louvre
© Musée du Louvre, Dist. RMN-Grand Palais / Studio Sébert
Commode
at tributed to Bernard II VanrisenBurgh (aka) B.V.r.B. (after 1700-1766)
Paris, 1730-1735. Made for the "China cabinet" of the Duke of Maine at the Château
de Sceaux.
Sceaux, musée du domaine départemental des Hauts- de-Seine.
Photo Benoit Chain
Corner armoire
Charles Cressent (1685-1768)
Paris, 1750. One of a pair.
Los Angeles, The J.Paul Getty Museum.
Photo Randy Dodson
Medallion armoire
Charles Cressent (1685-1768)
Paris, circa 1750
Calouste Gulbenkian Foundation, Lisbon
© Calouste Gulbenkian Museum, photo : Catarina Gomez Ferreira
Writing table
Fine Arts Museums of San Francisco
Photo : DR
Secretary desk
© The National Trust - Waddesdon Manor / Mike Fear
Table with a mechanism to trigger the interior structure
Jean-Fr ançois Œben (1721-1763)
Paris, circa 1760. Exterior marquetry inspired by Indian motifs.
Paris, musée Cognacq-Jay
© Musée Cognacq-Jay / Roger-Viollet
Bookcase-secretary desk
Paris, circa 1755. Made for the retraite cabinet of Louis XV at Trianon
Le Mans, musée de Tessé.
© Dominique Poussin / musée de Tessé
64
Bourgogne table
Paris, circa 1760
© Musée du Louvre, Dist. RMN-Grand Palais / droits réservés
Roll-top bureau (the King's bureau)
Jean-Fr ançois Œben (1721-1763) and Jean-Henri Riesener (1734-1806)
Paris, 1760-1769.
Made for the work cabinet of Louis XV at the Palace of Versailles
© Château de Versailles, Dist. RMN-Grand Palais / droits réservés
Commode
Mat thieu Criaerd (1689-1776)
under the direction of Thomas-Joachim Hébert (1687-1773)
Paris, 1742. Made for the chambers of Madame de Mailly at the Château de Choisy
© musée du Louvre, Dist-RMN-GP / Thierry Ollivier
Double-vantail armoire
Bernard II Van risen Burgh (aka) BVrB (after 1696-1766)
Paris, circa 1755
© Château de Versailles, Dist. RMN-Grand Palais / droits réservés
Combined secretary desk
Workshop of René Dubois (1737-1799)
Paris, 1775-1785
Piece used as a secretary desk, writing table and dressing table.
Musée des Beaux-Arts de la Ville de Paris, Petit Palais.
© Eric Emo / Petit Palais / Roger-Viollet
Steel console
at tributed to Pierre II Deumier, from Victor Louis and Jean-louis Prieur
© Photo: Inna Regentova et Natalia Antonova
Varnished steel commode
Pierre Macret (1727 - 1796)
Paris, circa 1770
From the furnishings of Marie-Antoinette.
Secretary desk
At tributed to Adrien Faizelot Delorme (1722-1791)
Paris, circa 1750.
From the furnishings of Madame de Pompadour at the Château de Bellevue
© Les Arts Décoratifs / Julien Thorance
65
Cabinet secretary desk
Martin Carlin (circa 1730 - 1785)
Paris, circa 1780
© musée du Louvre, Dist-RMN-GP / Droits réservés
Bureau
Jean-Henri Riesener (1734-1806)
From the Queen's home at the Hameau de Trianon
© Château de Versailles, Dist. RMN-Grand Palais / Gérard Blot
Commode
Jean-Henri Riesener (1734-1806)
After 1783
Fontainebleau, musée national du château
© RMN-Grand Palais (château de Fontainebleau) / Gérard Blot
Commode
Guill aume Benneman (1750-1811) under the direction of Jean Hauré
Paris, 1786
Made for the grand cabinet of Marie-Antoinette at the Château de Fontainebleau
Fontainebleau, musée national du château
© RMN-Grand Palais (château de Fontainebleau) / Gérard Blot
Roll-top secretary desk
David Roentgen (1743-1807)
© Château de Versailles, Dist. RMN-Grand Palais / Daniel Arnaudet
Table
Illustrating the production of luxury furniture in gilt bronze and marble. From the
collections of the Princes Poniatowski.
Musée des Beaux-arts de la ville de Paris, Petit Palais.
© Petit Palais / Roger-Viollet
Commode
at tributed to Adam WEISWELER (1744-1820)
Paris, 1788
Made for the interior cabinet of Louis XVI at the Château de Saint-Cloud
Compiègne, musée national du château
© RMN-Grand Palais (domaine de Compiègne) / Thierry Le Mage
Armchair
Paris, circa 1715/1720
66
Armchair
From the furnishings of the Paris townhouse of financier Pierre Crozat
© Musée du Louvre, Dist-RMN-GP / Daniel Arnaudet
Armchair
at tributed to Nicol as (1676-1752) or Jean-Baptiste Tilliard (1686-1766)
Paris, circa 1745
© Château de Versailles, Dist. RMN-Grand Palais / Jean-Marc Manaï
Armchair
at tributed to Louis Cresson (1706-1761)
Paris, circa 1735
Armchair
Nicol as - Quinibert Foliot (1706 - 1776)
Paris, circa 1749
Made for the furnishings of Madame Élisabeth, daughter of Louis XV, for her residence
in Parma (Italy)
Photo Vladimir Terebenin
Armchair
Anonymous
Paris, circa 1765
Musée des Beaux-Arts de la Ville de Paris, Petit Palais
© Eric Emo / Petit Palais / Roger-Viollet
Armchair
Georges Jacob (1739-1814)
Paris, 1788
Made for the games room of Louis XVI at the Château de Saint Cloud
© Musée du Louvre, Dist-RMN-GP / Martine Beck-Coppola
Chair
Fr ançois-Toussaint Foliot (1748-1839)
Made for the "Pavillon du Rocher" or Belvedere of the garden of the Petit Trianon
67
Mock-up of bergère chair
at tributed to Gilles Fr ançois Martin (1713-1795), from Jacques Gondoin
(1737-1818)
Paris, 1780. Preparatory mock-up of the chairs for the "Pavillon du Rocher" or
Belvedere of the garden of the Petit Trianon
© Musée du Louvre, Dist-RMN-GP / Stéphane Maréchalle
Console
Nicol as Heurtaut (1720 - 1771)
Paris, circa 1758. Made for the salon of the Château de Villarceaux
Collection of the Val d'Oise department. Photo: DR
L arge console table
Paris, circa 1720
© Les Arts Décoratifs / Julien Tholance
Console
Paris, circa 1785
Jewel case
Ferdinand Schwerdfeger (1734-1818) and after Jean-Démosthène Dugourc
(1749-1825)
Paris, circa 1787
Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

A DIFFErENT PErSPECTIVE ON 18TH

Transcription

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