A LOUIS XVI TULIPWOOD AND MARQUETRY BONHEUR-DU-JOUR

CIRCA 1770, STAMPED L MOREAU

細節
A LOUIS XVI TULIPWOOD AND MARQUETRY BONHEUR-DU-JOUR
circa 1770, stamped l moreau
With galleried superstructure with a central open compartment over a drawer flanked by two further closed compartments above a frieze drawer mounted with cast entrelac fitted with writing slide and open compartment, on square tapering legs with toupie feet joined by a pierced galleried undertier, inlaid overall with various objects of study and vases
42½in. (108cm.) high, 25½in. (65cm.) wide, 15in. (38cm.) deep
來源
Alma de Bretteville Spreckels
Sold in these Rooms, 18 May 1989, lot 128

拍品專文

Louis Moreau, maître in 1764

Louis Moreau was a marchand-ébéniste who sold at a shop A la descente des Tuileries. Only a small portion of the furniture sold there was made by him, the rest was consigned to him by such well known ébénistes as Jacques Bircklè, Antoine Foullet and Charles Topino. It was Topino (maître in 1773) whose marquetry most closely resembles that found on the the present bonheur-du-jour. This marquetry depicting teapots, vases and various writing utensils in the Chinese taste derive from motifs that decorated Coromandel lacquer screens. Such decoration became very fashionable in the 1770s and was popularized by Topino and Lacroix.
Alma Spreckels and her husband, San Francisco sugar magnate Adolph B. Spreckels, were responsible for establishing and endowing the California Palace of the Legion of Honor in San Francisco. In 1915 they visited the French Government's pavilion at the Panama Pacific exposition which was a replica of the Hôtel de Salm in Paris, originally completed in 1788. The Spreckels received permission from the French Government to build a permanent replica and ground was broken in 1921 for this building. The Museum was completed in 1924 under the direction of George Applegarth. Mrs. Spreckels' interest in French and European art determined the museum's focus and she remained involved in its operation and funding until her death in 1968 (see The Fine Arts Museums of San Francisco, Selected Works, 1987, pp. 13-18).