Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860
Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860

Antique Victorian Walnut Inlaid Bonheur Du Jour c.1860

1860 England

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This is a gorgeous Victorian Bonheur Du Jour or Ladies Writing Desk, Circa 1860 in date.

It is made from burr walnut with hand painted Sevres porcelain plaques and exquisite ormolu mounts, it is an example of superb quality and design.

The gorgeous grain and colour of the burr walnut, and the multitude of hand painted Sevres porcelain plaques ensures that this desk will get noticed wherever it is placed. It has fabulous ormolu mounts with ebonised and inlaid kingwood crossbanding to highlight the burr walnut.

This desk has a large central drawer which has a slide for writing, this is fitted with it's original hand gilded Royal blue leather.

Condition:

In really xcellent condition, this Bonheur Du Jour has been well cared for. Please see photographs to confirm condition.



A bonheur du jour (in French, bonheur-du-jour, meaning "daytime delight") is a type of lady's writing desk. It was introduced in Paris by one of the interior decorators and purveyors of fashionable novelties called marchands-merciers about 1760, and speedily became intensely fashionable.

The bonheur du jour is always very light and graceful, with a decorated back, since it often did not stand against the wall but was moved about the room. Its special characteristic is a raised back, which may form a little cabinet or a nest of drawers, or open shelves, which might be closed with atambour may simply be fitted with a mirror. The top, often surrounded with a chased and gilded bronze gallery, serves for placing small ornaments. Beneath the writing surface there is usually a single drawer, often neatly fitted for toiletries or writing supplies.

Early examples were raised on slender cabriole legs; under the influence of neoclassicism, examples made after about 1775 had straight, tapering legs. The marchand-mercier Simon-Philippe Poirierhad had the idea of mounting bonheurs du jour with specially-made plaques of Sèvres porcelainthat that he commissioned and for which he had a monopoly; the earliest Sèvres-mounted bonheur du jours are datable from the marks under their plaques to 1766-67. The choicer examples of the time are inlaid with marquetry or panels of Oriental lacquer, banded with exotic woods, with gilt-bronze mounts.

By the mid-1770s the bonheur du jour was being made in London, where it was simply called a "lady's writing-desk".

Burr Walnut refers to the swirling figure present in nearly all walnut when cut and polished, and especially in the wood taken from the base of the tree where it joins the roots. However the true burr is a rare growth on the tree where hundreds of tiny branches have started to grow. Burr walnut produce some of the most complex and beautiful figuring you can find.


Dimensions in cm:

Height 149 x Width 135 x Depth 55

Dimensions in inches:

Height 58.7 x Width 53.1 x Depth 21.7
A bonheur du jour (in French, bonheur-du-jour, meaning "daytime delight") is a type of lady's writing desk. It was introduced in Paris by one of the interior decorators and purveyors of fashionable novelties called marchands-merciers about 1760, and speedily became intensely fashionable.
The bonheur du jour is always very light and graceful, with a decorated back, since it often did not stand against the wall but was moved about the room. Its special characteristic is a raised back, which may form a little cabinet or a nest of drawers, or open shelves, which might be closed with a tambour or may simply be fitted with a mirror. The top, often surrounded with a chased and gilded bronze gallery, serves for placing small ornaments. Beneath the writing surface there is usually a single drawer, often neatly fitted for toiletries or writing supplies.

Early examples were raised on slender cabriole legs; under the influence of neoclassicism, examples made after about 1775 had straight, tapering legs. The marchand-mercier Simon-Philippe Poirierhad had the idea of mounting bonheurs du jour with specially-made plaques of Sèvres porcelainthat that he commissioned and for which he had a monopoly; the earliest Sèvres-mounted bonheur du jours are datable from the marks under their plaques to 1766-67. The choicer examples of the time are inlaid with marquetry or panels of Oriental lacquer, banded with exotic woods, with gilt-bronze mounts.

By the mid-1770s the bonheur du jour was being made in London, where it was simply called a "lady's writing-desk".



Sevres Porcelain traces its roots in France to early craftsmen who had small manufacturing operations in such places as Lille, Rouen. St. Cloud, and most notably Chantilly. It is from Chantilly that a cadre of workers migrated to the Chateau de Vincennes near Paris to form a larger porcelain manufactory in 1738. French King Louis XV, perhaps inspired by his rumoured relationship with mistress Madame de Pompadour, took an intense interest in porcelain and moved the operation in 1756 to even larger quarters in the Paris suburb of Sevres. Sevres was also conveniently near the home of Madame de Pompadour and the King's own Palace at Versailles.


From the outset the king's clear aim was to produce Sevres Porcelain that surpassed the established Saxony works of Meissen and Dresden. Though the French lacked an ample supply of kaolin, a required ingredient for hard-paste porcelain (pate dure), their soft-paste porcelain (pate tendre) was fired at a lower temperature and was thus compatible with a wider variety of colours and glazes that in many cases were also richer and more vivid. Unglazed white Sevres Porcelain "biscuit" figurines were also a great success. However, soft-paste Sevres Porcelain was more easily broken. Therefore, early pieces of Sevres Porcelain that remain intact have become rare indeed.

The Sevres Porcelain manufactory always seemed to be in dire financial straits despite the incredibly fine works it produced. In fact, the king's insistence that only the finest items be created may have contributed to the difficulties. Only a limited number of European nobility could afford the extravagant prices demanded for such works. King Louis XV and eventually his heir, the ill-fated Louis XVI, were obliged to invest heavily in the enterprise. Ultimately, the Sevres Porcelain Factory produced items under the name of "Royal" and thus the well-known Sevres mark was born. King Louis XV even mandated laws that severely restricted other porcelain production in France so as to retain a near monopoly for his Sevres Porcelain. The king even willingly became chief salesman for the finest of his products, hosting an annual New Year's Day showing for French nobility in his private quarters at Versailles. He eagerly circulated among potential buyers, pitching the merits of ownership and policing the occasional light-fingered guest.

Sevres Porcelain may have indeed given the makers of Meissen and Dresden a run for their money by the end of the 18th Century but for the French Revolution. By 1800, the Sevres Porcelain Works were practically out of business due to the economic devastation of the new French Republic.

About the time when Napoleon Bonaparte named himself Emperor of France (1804), a new director was named for the Sevres Porcelain Manufactory. Alexandre Brongniart, highly educated in many fields, resurrected Sevres Porcelain. Soft-paste porcelain was eliminated altogether thanks to the earlier discovery of kaolin near Limoges. For four decades until his death, Brongniart presided over monumental progress for Sevres Porcelain, catering not only to Napoleon himself, but at last to include the more financially profitable mid-priced market in the emerging middle class.


“Burr Walnut” refers to the swirling figure present in nearly all walnut when cut and polished, and especially in the wood taken from the base of the tree where it joins the roots. However the true burr is a rare growth on the tree where hundreds of tiny branches have started to grow. Burr walnut produce some of the most complex and beautiful figuring you can find.
Stock Code
04590
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