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Lot Essay
The fame of André-Charles Boulle (d.1732), appointed Ebéniste, Ciseleur, Doreur et Sculpteur du Roi in 1672, was such that his name has since become synonymous with a whole generic furniture type. Boulle's technique, popularised with his work for the French Court during the reign of Louis XIV, exploited the practice of contrasting black ebony against gilded bronze and brass, silver-toned pewter and often red-coloured tortoiseshell in marquetry. His signature style, which incorporated light, lacy designs of playful singeries, garlands of flowers and airy architectural fantasies, and has since been associated with the most opulent and expensive designs.
After Boulle's death, his sons continued producing pieces using their father's techniques and models, as demand for Boulle-marquetried furniture continued throughout the 18th century. The taste among great collectors for ancien régime styles continued into the 19th century, and Boulle-style furniture held its popularity and prestige. Important 19th century makers such as Blake, Befort Jeune, Linke, Sormani, and Zwiener, commonly copied or adapted the great pieces of the past when commissioned by the likes of the Rothschilds, the Marquess of Hertford or Henry Clay Frick.
The design for the present lot is based on a group of early 18th century bureaux generally attributed to the Boulle ateliers. Similar desks include one in the Getty Museum, California, the Frick Collection, New York, the Wallace Collection in London, and the celebrated model comissioned for the Duc de Bourbon, now at Versailles. Boulle's preparatory drawings can be found at the Musée des Arts Décoratifs in Paris.
After Boulle's death, his sons continued producing pieces using their father's techniques and models, as demand for Boulle-marquetried furniture continued throughout the 18th century. The taste among great collectors for ancien régime styles continued into the 19th century, and Boulle-style furniture held its popularity and prestige. Important 19th century makers such as Blake, Befort Jeune, Linke, Sormani, and Zwiener, commonly copied or adapted the great pieces of the past when commissioned by the likes of the Rothschilds, the Marquess of Hertford or Henry Clay Frick.
The design for the present lot is based on a group of early 18th century bureaux generally attributed to the Boulle ateliers. Similar desks include one in the Getty Museum, California, the Frick Collection, New York, the Wallace Collection in London, and the celebrated model comissioned for the Duc de Bourbon, now at Versailles. Boulle's preparatory drawings can be found at the Musée des Arts Décoratifs in Paris.