Ref#38 | Description
A French Louis XVI style ormolu-mounted veneer inlaid parquetry and marquetry Bahut on the manner of Jean-Henri Riesener model, 19th century,
The stepped breakfront marble top, centered to the front by a pair of veneer inlaid drawers headed by an ormolu sunburst winged cartouche mount and knotted-ribbon floral blossoms garlands, with central break-fronted panel inlaid with a marquetry pattern of flowers basket and leaf-like motifs, above a fleur-de-lys-studded ormolu globe and cornucopia mount, the drawers are surrounded with Cyma Recta style ormolu strip to the contour, flanked to each side by gilt-fluted ormolu entwined roman style columns supports with an ormolu Corinthian capitals.
A veneer inlaid parquetry style trellis cupboard door to each side, hung with ribbon-suspended blossoming garlands plus another two colonnettes to the far end corners.
The D-shaped base is ornate with a Cyma Recta style ormolu filet and break-fronted blocks ornamented with ormolu pierced flower rosettes and raised on tapering gilt-ormolu acanthus-mounted feet.
56 x 198 x 91cm
Jean-Henri Riesener, (born July 4.1734, Gladbeck, Münster [Germany]—died Jan. 6.1806, Paris, France), the best-known cabinetmaker in France during the reign of Louis XVI. Riesener was the son of an usher in the law courts of the elector of Cologne. After moving to Paris he joined the workshop of Jean-François Oeben in 1754, and, when Oeben died in 1763, Riesener was put in charge of the workshop and later married his master’s widow. He made his name by completing and delivering to Louis XV the famous bureau du roi (“king’s desk”), begun by Oeben. In 1774 he was made royal cabinetmaker and from then onward was the regular supplier of furniture to the queen, Marie-Antoinette. Although he was one of the most versatile of cabinetmakers, his services were in little demand during the French Revolutionary period because of his political status. Riesener used both European and exotic woods, with a preference for mahogany; he occasionally used lacquer and mother-of-pearl to enrich the surfaces of his works. His finished style was pure Louis xvi, with its rectilinear side view and harmonious ornamentation.
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