Object Description
A magnificent pair of Louis XVI transitional style 19th Century French marble topped commodes after the original model by J.H. Riesener. Having breche d’alep marble tops with slightly bowed centre sections and a moulded edge. Each frieze is inset with one long drawer, flanked by two short drawers with finely cast floral mounts and with a further two deep drawers below also with finely cast floral mounts. The centre sections are finely decorated with a marquetry panel depicting vases and baskets of flowers in exotic coloured inlays, flanked by parquetry panels in Kingwood and rosewood. Having similar parquetry inlaid panels to the sides, all profusely mounted with finely gilded ormolu with pendant roses, scrolling acanthus and circular rope twist handles to the drawers. The whole supported on cabriole supports sheathed at the knees with claw feet. French circa 1880-1900
Dimensions: 45″ wide x 23″ deep x 33″ high
Jean-Henri Riesener (German: Johann Heinrich Riesener) (4 July 1734 – 6 January 1806) was the French royal ébéniste, working in Paris, whose work exemplified the early neoclassical “Louis XVI style”.
Riesener was born in Gladbeck, Westphalia, Germany, moved to Paris where he apprenticed soon after 1754 with Jean-François Oeben, whose widow he married; he was received master ébéniste in January 1768. The following year he began supplying furniture for the Crown and in July 1774 formally became ébéniste ordinaire du roi, “the greatest Parisian ébéniste of the Louis XVI period.” Riesener was responsible for some of the richest examples of furniture in the Louis XVI style, as the French court embarked on furnishing commissions on a luxurious scale that had not been seen since the time of Louis XIV: between 1774 and 1784 he received on average commissions amounting to 100,000 livres per annum.
He used floral and figural marquetry techniques to a great extent, contrasting with refined parquetry and trelliswork grounds, in addition to gilt-bronze mounts. His carcases were more finely finished than those of many of his Parisian contemporaries, and he attempted to disguise the screw heads that attached his mounts with overhanging details of foliage. It seems likely that as a royal craftsman he was able to circumvent guild restrictions and produce his own ormolu|gilt-bronze mounts
Condition: This pair of commodes are in stunning condition, re-polished in our workshops.
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