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拍品專文
Claude Revault (d. 1757), maître in 1755.
This elegant and sinuous commode was executed by the relatively unknown ébéniste Claude Revault, whose short-lived career ended on his death in 1757, which provides a terminus ante quem for its manufacture. It is decorated throughout with a floral marquetry pattern in bois-de-bout on a chevron ground, a type of marquetry much favoured by the ébénistes Bernard II van Risenburgh (maître before 1737) and Jacques Carel (maître in 1723), whose work may have inspired Revault. The shaped marquetry panels are framed by cartiligeous mounts, which appear to be by a different hand than the angles, apron and sabots, which consist of longer scrolls; together, they give the façade a dense and elaborate character.
De Salverte gives some interesting insight into Revault's oeuvre as well as his work practices, which all suggest a small-scaled but flourishing atelier producing beautifully-made marquetry furniture in a highly individual style. Some of his pieces were sold by the marchand-ébéniste Pierre Migeon, whose stamp may appear on these pieces rather than that of Revault. Amongst the latter's ouvriers was a specialised marqueteur named Claude Jabodot and bronziers such as Jacques Guinand, Bernard Lebreton and François Virgile. (F. de Salverte, Les Ébénistes du XVIIIe Siècle, Paris, 1953, p. 266).
This elegant and sinuous commode was executed by the relatively unknown ébéniste Claude Revault, whose short-lived career ended on his death in 1757, which provides a terminus ante quem for its manufacture. It is decorated throughout with a floral marquetry pattern in bois-de-bout on a chevron ground, a type of marquetry much favoured by the ébénistes Bernard II van Risenburgh (maître before 1737) and Jacques Carel (maître in 1723), whose work may have inspired Revault. The shaped marquetry panels are framed by cartiligeous mounts, which appear to be by a different hand than the angles, apron and sabots, which consist of longer scrolls; together, they give the façade a dense and elaborate character.
De Salverte gives some interesting insight into Revault's oeuvre as well as his work practices, which all suggest a small-scaled but flourishing atelier producing beautifully-made marquetry furniture in a highly individual style. Some of his pieces were sold by the marchand-ébéniste Pierre Migeon, whose stamp may appear on these pieces rather than that of Revault. Amongst the latter's ouvriers was a specialised marqueteur named Claude Jabodot and bronziers such as Jacques Guinand, Bernard Lebreton and François Virgile. (F. de Salverte, Les Ébénistes du XVIIIe Siècle, Paris, 1953, p. 266).