Ref#G67K | Description
A French ormolu-mounted marquetry and parquetry D shaped commode, after the model by Jean-Henri Riesener, Circa 1890, surmounted by a shaped and stepped veined marble top, centered to the front by a pair of drawers headed by a sunburst winged mask ormolu mount, with central panel inlaid sans traverse with an ewer and basket of fruit and flowers flanked on each side by cherubs emblematic of Bienfaisance and Justice, above a fleur-de-lys-studded ormolu globe and cornucopia, flanked to each side by inlaid parquetry cupboard door hung with floral swags and ribbon-suspended military trophies, the angles mounted with imitation of the four armorial emblematic of Courage, Force, Prudence and Tempérence, on tapering acanthus-mounted feet.
This commode is based on the celebrated model made by Riesener (1734-1806) in 1775 for Louis XVI's bedroom at Versailles and now in the Musée Condé, Chantilly. The central marquetry panel formerly bore a royal monogram but it was altered by Riesener after the revolution. The embossed gilt-bronze mounts were executed by Louis-Barthélemy Hervieux one of the best fondeurs-ciseleurs of the day.
The fine piece is available with large carved and gilded mirror as an entry piece; and in different versions of inlay per request as displayed.
Ref#G67K | Ref#G67K-N
56 x 198 x 91 cm
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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