To send a message simply fill out the form below.
Enquiry from Online Galleries regarding "A Magnificent Pair of Louis XVI Style Lacquer and Ebony Commodes"
|If you do NOT want to receive newsletters from us regarding the antiques trade, please UNCHECK this box.|
To send this page to a friend, fill out the form below..
Look at what I found on the Online Galleries website!
Each commode has a breakfront Sarrancolin marble top above a frieze finely cast with gilt-bronze drapery festoons. Below are two cupboard doors with aventurine borders and gilt-bronze frames, inset with fine Japanese hiramaki-e and takamaki-e lacquer panels, depicting courtly figures in a stylised landscape. The cupboard doors are flanked to each side by a pair of open encoignure ends with gilt-bronze framed aventurine panels, marble shelves and finely cast lambrequin mounts. The commodes are raised on hexagonal tapering fluted legs with gilt bronze caps.
The design inspiration for these important commodes was the famous Commode à l'Anglaise, supplied between 1775 and 1780 together with a pair of matching lacquer consoles, by the famous ébéniste Martin Carlin, for the Marquise de Brunoy. Seized at the time of the Revolution, the commode was separated from the consoles in 1802, when it was moved to the grand salon of the Premier Consul's apartment at the Palais de St. Cloud. It remained at St. Cloud until 1870, when it was transferred from the Mobilier National to the Louvre, where it remains (Inv.OA5472). The pair of consoles are today in the Petit Trianon.
Although closely related to Carlin's commode, Dasson made a number of structural and aesthetic adaption's to the original design, arguably creating a form more balanced in its proportions. Carlin's commode also has two doors, but features a large central lacquer panel flanked by two smaller panels, one door being double, incorporating the central panel and one of the smaller ones.
Dasson faithfully recreates Carlin's drapery festoons, in the mounts to the frieze of the present commodes, but subtly alters the mounts to the shelves and to the apron. The drapery to the edge of the shelves is expanded to a distinctly nineteenth century styled lambrequin decoration. The fielded, horizontal line mounts, to the apron of Carlin's commode, are also discarded in favour of an intricate continuous running pattern border. What Dasson achieves in this important pair of commodes is a subtle adaptation, firmly rooted in the new perspective of the nineteenth century.
What makes these commodes so unusual is that it would appear that Dasson worked from the original model belonging to Carlin. This may have been purchased by Dasson or inherited when he took over the business of Charles-Guillaume Winckelsen.
Camille Mestdagh, in her book 'L'Ameublement d'art français : 1850-1900', illustrates one commode from this pair, and refers to the sale of models by Henry Dasson et Cie, which were held from 9th to 12th and 23rd to 27th October 1894, at 106 rue Vieille du Temple, and listed in the 'Catalogues of drawings for art bronzes, style furniture and important decoration with rights of reproduction by Henry Dasson et Cie, manufacturer of art bronzes and cabinetmaker .....' . She notes that Beurdeley acquired two models from the Dasson sale, including one described as ' important cabinet Louis XVI, with lateral shelves. Louvre Museum.' Which designates most likely the commode à l'anglaise described above, made by Martin Carlin between 1775-1780 (LOA 5472).
The Maison Lécoules was established in Paris, 62 rue Taitbout, in 1905.
|Height||98.00 cm||(38.58 inches)|
|Width||165.00 cm||(64.96 inches)|
|Depth||48.00 cm||(18.90 inches)|