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Lot Essay
Jean-Henri Riesener, maître in 1768.
Arguably the most celebrated ébéniste of the late 18th century, Riesener, along with Boulle and Cressent, was one of the very few makers to be specifically named in 18th century sale catalogues. Riesener was appointed ébéniste ordinaire du mobilier de la Couronne in 1774. He was celebrated not only for his use of marquetry of the highest quality but also for his selection of the most striking mahogany which offered a stark contrast against rich ormolu mounts.
This commode, with its sober elegance, subtle play of moldings and fine use of mahogany enriched by ormolu mounts, is a superb example of Riesener’s later work. An almost indistinguishable commode is illustrated in J. Nicolay, L'Art et la Manière des Maitres Ébénistes Français au XVIII Siècle, Paris, 1976, p. 402, fig. AE.
A practically identical commode stamped Weisweiler and listed in both the 1786 and 1787 inventories of the cabinet de retraite of the Comte de Provence (1755-1824) at the château de Fontainebleau sold from the Collection of the Duchess of Talleyrand; Christie’s, Monaco, 5-6 February 1978, lot 43, and again from the Collection of Baroness Carmen Thyssen-Bornemisza; Christie’s, London, 5 July 2018, lot 114. While that commode is stamped by Adam Weisweiler, it is stylistically more closely related to the oeuvre of Jean-Henri Riesener. This can be explained by Riesener's official role as ébéniste du Roi between 1774 and 1784. He supplied the crown with pieces valuing more than 938,000 livres; to respond to such pressure he was forced to subcontract work, a practice common among former ébénistes du Roi such as Antoine Gaudreau (1680-1746) or Gilles Joubert (1689-1775). Weisweiler was particularly favored by Riesener and several pieces bearing both ébénistes' stamps are recorded. They include a very similar commode which sold at Drouot Montaigne, 7 February 1990, and a related example at the Musée Carnavalet (MB 462).
Arguably the most celebrated ébéniste of the late 18th century, Riesener, along with Boulle and Cressent, was one of the very few makers to be specifically named in 18th century sale catalogues. Riesener was appointed ébéniste ordinaire du mobilier de la Couronne in 1774. He was celebrated not only for his use of marquetry of the highest quality but also for his selection of the most striking mahogany which offered a stark contrast against rich ormolu mounts.
This commode, with its sober elegance, subtle play of moldings and fine use of mahogany enriched by ormolu mounts, is a superb example of Riesener’s later work. An almost indistinguishable commode is illustrated in J. Nicolay, L'Art et la Manière des Maitres Ébénistes Français au XVIII Siècle, Paris, 1976, p. 402, fig. AE.
A practically identical commode stamped Weisweiler and listed in both the 1786 and 1787 inventories of the cabinet de retraite of the Comte de Provence (1755-1824) at the château de Fontainebleau sold from the Collection of the Duchess of Talleyrand; Christie’s, Monaco, 5-6 February 1978, lot 43, and again from the Collection of Baroness Carmen Thyssen-Bornemisza; Christie’s, London, 5 July 2018, lot 114. While that commode is stamped by Adam Weisweiler, it is stylistically more closely related to the oeuvre of Jean-Henri Riesener. This can be explained by Riesener's official role as ébéniste du Roi between 1774 and 1784. He supplied the crown with pieces valuing more than 938,000 livres; to respond to such pressure he was forced to subcontract work, a practice common among former ébénistes du Roi such as Antoine Gaudreau (1680-1746) or Gilles Joubert (1689-1775). Weisweiler was particularly favored by Riesener and several pieces bearing both ébénistes' stamps are recorded. They include a very similar commode which sold at Drouot Montaigne, 7 February 1990, and a related example at the Musée Carnavalet (MB 462).