Ref#C637F | Description
Our Fine Reproduction of the Louis XVI style distressed-ormolu-mounted commode a vantaux after the model by Guillaume Benneman, Late 19th century, circa 1890
Executed later by Francois Linke Of trapezoid form, the shaped marble top above an oak-leaf frieze set with a pair of drawers upholstered with velvet fabric, above a pair of panelled doors mounted with ormolu trophies of War and acanthus rosettes, with panelled concave sides and ribbon-tied arrow-form front angle and fluted corners, on acanthus-sheathed hairy paw feet.
The commode is offered to be manufactured in Buffet size, and a dining room set, different color finishing and different ormolu finishing, distressed or gilded new per request.
The original model was conceived at the command of the Garde-Meuble by German-born Guillaume Benneman, master cabinet maker in 1785.
150 x 90 x 60 cm
Guillaume Benneman arrived in Paris from Germany in the early 1780s as an unknown ébéniste but was soon chosen to provide furniture for the royal family. At first he simply repaired the royal family's existing furniture and made functional objects such as firescreens, boxes, and bidets. Benneman then became the court ébéniste, copying and altering existing furniture to unify the interiors of the royal residences.
As his work gained the Crown's admiration, large sums of money passed from the royal coffers to Benneman to outfit his workshop with tools and equipment for sixteen craftsmen. Under the direction of the sculptor Jean Hauré, who acted as coordinator, Benneman produced pieces in the style of such ébénistesas Jean-Henri Riesener and Jean-François Oeben. He also altered existing pieces of furniture by removing porcelain plaques and mounts from one piece and placing them on a new copy. The old piece then served as a base for a new design.
Benneman continued to work throughout the French Revolution, although at a reduced level, but during the Directoire he gained a certain amount of new business. Scholars have difficulty assessing this cabinetmaker's personal style as his best-known objects are copies of other eighteenth-century ébénistes.
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