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Lot Essay
Mounted with a lavish central cartouche with doves and emblematic of love, the present commode reprises one of the most celebrated and widely admired models of the Ancien Régime. The original, completed by Guillaume Benneman from a piece originally begun by Joseph Stöckel, was installed in Louis XVI’s bedroom at the Château de Compiègne in 1786 following Benneman’s extensive refurbishments. Today, it is in the collections of the Louvre (OA 5507).
Unlike many pieces of Royal furniture which were widely dispersed during the French Revolution, the location of the original Benneman commode can be closely documented through to the present day. During the Revolution, it was moved to the Palais de Luxembourg. It was then in the Palais des Tuileries in Napoleon’s apartments which were subsequently occupied by the Restauration monarchs Louis XVIII and Charles X. Following the July Revolution, it was moved within the palace to Louis Philippe’s, salon de famille and it remained in the Tuileries through the Second Empire until it was moved, in 1870, to the Louvre.
Though several Parisian furniture makers created replicas of the model in the late 19th century, two examples are particularly notable. The first is that which Christopher Payne has suggested is the only one made by François Linke (see C. Payne, François Linke, 1855-1946 – The Belle Epoque of French Furniture, Woodbridge, 2003, p. 199 and 482, index no. 776), sold Château - A Distinguished American Collection of Important 19th Century Furniture & Works of Art; Christie’s, London 28 October 2014, lot 52, £122,500. The second notable example is that produced by Henry Dasson, illustrated C. Mestdagh, L’Ameublement d’Art Français 1850-1900, Paris, 2010, p. 121, fig. 120, and sold Christie’s, New York, East, 22 October 1991, lot 341.
The present commode, however, has three central drawers, in exact imitation of the 18th century original, and effectively distinguishing it from the two aforementioned cabinets by Linke and Dasson. This conscientious decision on behalf of the French furniture maker to replicate the original construction demonstrates a strong desire to imbue the work with the spirit of the Benneman/Stöckel commode. The white marble top on the present commode is also based on the Compiègne original. This sumptuous commode could, therefore, be viewed as a faithful homage to the great Ancien Régime cabinet, and was no doubt the centrepiece of a fine Belle Époque collection.
Unlike many pieces of Royal furniture which were widely dispersed during the French Revolution, the location of the original Benneman commode can be closely documented through to the present day. During the Revolution, it was moved to the Palais de Luxembourg. It was then in the Palais des Tuileries in Napoleon’s apartments which were subsequently occupied by the Restauration monarchs Louis XVIII and Charles X. Following the July Revolution, it was moved within the palace to Louis Philippe’s, salon de famille and it remained in the Tuileries through the Second Empire until it was moved, in 1870, to the Louvre.
Though several Parisian furniture makers created replicas of the model in the late 19th century, two examples are particularly notable. The first is that which Christopher Payne has suggested is the only one made by François Linke (see C. Payne, François Linke, 1855-1946 – The Belle Epoque of French Furniture, Woodbridge, 2003, p. 199 and 482, index no. 776), sold Château - A Distinguished American Collection of Important 19th Century Furniture & Works of Art; Christie’s, London 28 October 2014, lot 52, £122,500. The second notable example is that produced by Henry Dasson, illustrated C. Mestdagh, L’Ameublement d’Art Français 1850-1900, Paris, 2010, p. 121, fig. 120, and sold Christie’s, New York, East, 22 October 1991, lot 341.
The present commode, however, has three central drawers, in exact imitation of the 18th century original, and effectively distinguishing it from the two aforementioned cabinets by Linke and Dasson. This conscientious decision on behalf of the French furniture maker to replicate the original construction demonstrates a strong desire to imbue the work with the spirit of the Benneman/Stöckel commode. The white marble top on the present commode is also based on the Compiègne original. This sumptuous commode could, therefore, be viewed as a faithful homage to the great Ancien Régime cabinet, and was no doubt the centrepiece of a fine Belle Époque collection.