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Lot Essay
Pierre Roussel maître in 1745
Established in the rue de Charenton at l'Image de St. Pierre, Roussel was described as early as 1769 in the Almanach de Vray Merité as l'un des premiers ébénistes de Paris. Particularly renowned for his floral marquetry, often executed for the German market and characterised by the heavy use of engraving to enhance its naturalistic quality, this commode typifies Roussel's style of the early 1760's. It appears that Roussel's personal taste led him to persue colour and fantasy, rarely using parquetry, marquetry flowers or cross-cut wood. Instead he favoured the use of flower sprays or large bouquets in variously coloured woods, executed with a technical mastery and tradition that rewarded him with respect and standing in the serious world of the French ébénistes.
The Inventory drawn up by Leleu and Cochois following Roussel's death in 1783 reveals an atelier at the height of its activity. However, whilst most of the ébénisterie appears to have been executed on the premises, often by Roussel's sons Pierre Michel (maître in 1766) and Pierre le Jeune (maître in 1771), the ormolu mounts were supplied by specialist bronziers, including Turchin, Ravrio and the doreur Trufot. Also noted in the inventory, which is of particular interest when considering the unusual form and and function of this commode, is the specific reference to a variety of multi-functional pieces of furniture, including tables, bedside tables, secretaires and dressing-tables to name a few (see G. de Bellaigue, The James A. de Rothschild Collection at Waddeston Manor, Furniture, Clocks and Gilt Bronzes II, London, 1974, p.880). The offered piece with the hinged top at the front revealing the writing surface and fitments, combined with hinged leaf to the reverse displays the innovation, characteristic of Roussel whom smootly underwent the transition of styles which took place in the third quarter of 18th century France.
A commode displaying this lavish marquetry is illustrated from the collection of S. Chalom in P. Verlet, French Cabinetmakers of the Eighteenth Century, New York, 1965, p.131, fig.4. A near identical example to this was sold The Alexander Collection, Christie's New York, 30 April 1999, lot 180, ($244,500).
Established in the rue de Charenton at l'Image de St. Pierre, Roussel was described as early as 1769 in the Almanach de Vray Merité as l'un des premiers ébénistes de Paris. Particularly renowned for his floral marquetry, often executed for the German market and characterised by the heavy use of engraving to enhance its naturalistic quality, this commode typifies Roussel's style of the early 1760's. It appears that Roussel's personal taste led him to persue colour and fantasy, rarely using parquetry, marquetry flowers or cross-cut wood. Instead he favoured the use of flower sprays or large bouquets in variously coloured woods, executed with a technical mastery and tradition that rewarded him with respect and standing in the serious world of the French ébénistes.
The Inventory drawn up by Leleu and Cochois following Roussel's death in 1783 reveals an atelier at the height of its activity. However, whilst most of the ébénisterie appears to have been executed on the premises, often by Roussel's sons Pierre Michel (maître in 1766) and Pierre le Jeune (maître in 1771), the ormolu mounts were supplied by specialist bronziers, including Turchin, Ravrio and the doreur Trufot. Also noted in the inventory, which is of particular interest when considering the unusual form and and function of this commode, is the specific reference to a variety of multi-functional pieces of furniture, including tables, bedside tables, secretaires and dressing-tables to name a few (see G. de Bellaigue, The James A. de Rothschild Collection at Waddeston Manor, Furniture, Clocks and Gilt Bronzes II, London, 1974, p.880). The offered piece with the hinged top at the front revealing the writing surface and fitments, combined with hinged leaf to the reverse displays the innovation, characteristic of Roussel whom smootly underwent the transition of styles which took place in the third quarter of 18th century France.
A commode displaying this lavish marquetry is illustrated from the collection of S. Chalom in P. Verlet, French Cabinetmakers of the Eighteenth Century, New York, 1965, p.131, fig.4. A near identical example to this was sold The Alexander Collection, Christie's New York, 30 April 1999, lot 180, ($244,500).