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Lot Essay
Bernard II van Risen Burgh, matre in 1730
This magnificent armoire is apparently unique in BVRB's oeuvre. Although it shares certain characteristics with the BVRB bibliothque basse of 1735-40 in the J. Paul Getty Museum (C. Bremer-David, Decorative Arts, An Illustrated Summary Catalogue of the Collections of the J. Paul Getty Museum, Malibu, 1993, p. 18, no. 11), namely the Rgence character of certain mounts, the overall proportions and the rectangular-bordered reserve panels, it probably dates from circa 1750. it does, however, probably just preceed the group of BVRB armoires and secretaires dating from 1750 onwards, with their characteristic raised stepped top doucine, as on this armoire, but with arc-en-arbalette frieze. These latter group comprises a series of secretaires abattant in both Japanese lacquer and bois-de-bout marquetry of circa 1755-60 (A. Pradre, Les Ebnistes Franais de Louis XIV la Revolution, 1989, pp. 190-191, fig. 177); the pair of armoires in bois satin in the J. Paul Getty Museum, (op. cit, pp. 18-19, No. 12); and the Choiseul red lacquer armoire donated by Antenor Patio to the Louvre in 1956 (P. Verlet, French Furniture of the Eighteenth Century, 1991, p. 118-119, fig 78).
Although BVRB produced remarkably few armoires, he was continuing the tradition forged by Andr-Charles Boulle in the Louis XIV period and continued by Cressent through the Rgence, for monumental and hugely expensive and elaborate armoires. By the mid-eighteenth century the demand for new smaller-scale, more intimate appartements had rendered such monumental pieces obsolete. This armoire, conceived on a far smaller scale to fit in with this trend, was intended less to dominate a room but rather to please in a more subtle way through its carefully balanced, understated ornament.
The 1922 sale catalogue of the 'Liquidation de la Societ 'Styles'', showing the later mount between the doors that has since been removed, is included in lot 326. The Lurcy sale catalogue is included in lot 327.
This magnificent armoire is apparently unique in BVRB's oeuvre. Although it shares certain characteristics with the BVRB bibliothque basse of 1735-40 in the J. Paul Getty Museum (C. Bremer-David, Decorative Arts, An Illustrated Summary Catalogue of the Collections of the J. Paul Getty Museum, Malibu, 1993, p. 18, no. 11), namely the Rgence character of certain mounts, the overall proportions and the rectangular-bordered reserve panels, it probably dates from circa 1750. it does, however, probably just preceed the group of BVRB armoires and secretaires dating from 1750 onwards, with their characteristic raised stepped top doucine, as on this armoire, but with arc-en-arbalette frieze. These latter group comprises a series of secretaires abattant in both Japanese lacquer and bois-de-bout marquetry of circa 1755-60 (A. Pradre, Les Ebnistes Franais de Louis XIV la Revolution, 1989, pp. 190-191, fig. 177); the pair of armoires in bois satin in the J. Paul Getty Museum, (op. cit, pp. 18-19, No. 12); and the Choiseul red lacquer armoire donated by Antenor Patio to the Louvre in 1956 (P. Verlet, French Furniture of the Eighteenth Century, 1991, p. 118-119, fig 78).
Although BVRB produced remarkably few armoires, he was continuing the tradition forged by Andr-Charles Boulle in the Louis XIV period and continued by Cressent through the Rgence, for monumental and hugely expensive and elaborate armoires. By the mid-eighteenth century the demand for new smaller-scale, more intimate appartements had rendered such monumental pieces obsolete. This armoire, conceived on a far smaller scale to fit in with this trend, was intended less to dominate a room but rather to please in a more subtle way through its carefully balanced, understated ornament.
The 1922 sale catalogue of the 'Liquidation de la Societ 'Styles'', showing the later mount between the doors that has since been removed, is included in lot 326. The Lurcy sale catalogue is included in lot 327.