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Enquiry from Online Galleries regarding "A Fine Louis XV Style Gilt-Bronze Mounted Parquetry Commode"
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Look at what I found on the Online Galleries website!
The commode has a serpentine Brèche d'Alep marble top above a pair of drawers mounted with very finely cast sculptural gilt-bronze mounts of trailing oak branches, birds and a vase flanked by a pair of reclining putti. The sides are mounted with crossed oak branches with a putto to each angle holding a bird. The commode has tapering legs cast with oak branch front mounts.
The inspiration for this exceptional piece of furniture was a commode by Charles Cressent of circa 1720, now housed in the Rothschild Collection at Waddesdon Manor. The commode by Cressent was acquired by the 10th Duke of Hamilton in Paris in 1827 and was included in the 1882 Hamilton Palace Sale as Lot 1806. The dealer Samuel Wertheimer acting on behalf of Baron Edmond de Rothschild was forced to pay £6,247.10s to secure it for Baron Edmond at the sale, even more than the £6,000 he had paid for the Riesener desk made for Marie Antoinette. Following the death of Sir Edmond in 1934 the commode entered the collection at Waddesdon Manor.
A seemingly identical commode to the present example is illustrated in Christopher Payne, 'Dictionary of Nineteenth Century Furniture', p. 86.
French, Circa 1880.
Charles Cressent (1685-1768) was a leading French ébéniste and sculptor of the late Régence and early Rococo periods, becoming a master sculptor in 1719. He worked as both ébéniste and sculptor to the Regent, Philippe II, Duc d'Orléans. His furniture was often decorated with plain veneers, usually of satinwood and amaranth, or veneers in patterns of parquetry.
Cressent was best known for the highly sculptural gilt bronze mounts that ornamented his furniture. In order to supervise production and guarantee the quality of his mounts, he employed master casters and gilders in his workshop. This practice broke the strict rules of the French guild system, and the guild prosecuted him for practicing the two professions of cabinet making and gilding in the same workshop. In order to pay the resulting fines, Cressent was forced to hold sales of his stock. The catalogues from these auctions, which he wrote himself, provide important evidence to identify his works, as Cressent's furniture was always unsigned.
Payne, Christopher. 19th Century European Furniture, Antique Collectors Club (Woodbridge, UK), 1989; p. 86.
|Height||95.00 cm||(37.40 inches)|
|Width||155.00 cm||(61.02 inches)|
|Depth||61.00 cm||(24.02 inches)|