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Lot Essay
Bernard II Van Risenburgh, maître in 1735.
THE DESIGN
This model of jewel-coffer secretaire en cabinet was almost certainly supplied by the marchand-mercier Simon-Philippe Poirier. Executed in both bois de bout and early neo-classical marquetry, simple parquetry and even Japanese lacquer, the model is known to have been made by other ébénistes ranging from Jean-Françcois Leleu and Joseph Baumhauer to Guillaume Kemp and Roger van der Cruse, dit Lacroix. The categoric link with Poirier was provided by an example by BVRB veneered in Japanese lacquer, whose interior drawer was inscribed 'Poirier..Marchand' (sold from the Alexander Collection, Christie's New York, 30 April 1999, lot 105).
Stamped examples by BVRB comprise three variants of this model: examples with a plain veneered fall front, those with bois de bout flowering branches and a third group with neo-classical vase marquetry. This last iteration is particularly rare as it is among the earliest examples of BVRB incorporating neo-classical ornament in his work and illustrates the moment when tastes began to change from purely naturalistic forms and decoration. Other than the present lot, only one other stamped example is known; formerly in the collection of Penard y Fernandez, it was sold at Etude Picard Tajan, Monaco, 17 March 1988, lot 89. A plain veneered example was anonymously at Christie's New York, 9 May 1985, lot 190. Examples featuring bois de bout flowering branches are more prevalent and include one sold from the Elizabeth Stafford Collection at Christie’s, New York, 1 November 2018, lot 1224 as well as several others that are unstamped. One is in the Forsyth Wickes at the Museum of Fine Arts, Boston (formerly in the collection of the Counts Potocki, Lancut, Poland, no. 62.2504, illustrated in P. Verlet, Les Meubles Français du XVIIème siècle, Paris, 1982, fig. 151) and another was sold anonymously at Sotheby's Monaco, 22 June 1986, lot 634.
BERNARD II VAN RISENBURGH (c.1696-1767)
Bernard II Van Risenburgh, known by his initials as BVRB, was one of the most celebrated ébénistes of his era. After gaining his maitrise in 1730, BVRB established his own workshop independently of his father where his work stood apart from that of his contemporaries with its innovative conception, construction and innovative gilt bronze mounts. He worked almost exclusively for the foremost Parisian marchands-merciers of the mid-18th Century such as Thomas-Joachim Hébert, Lazare Duvaux and Simon-Philippe Poirier. They supplied BVRB with the rich and exotic materials such as Japanese lacquer and Sèvres porcelain, which were incorporated into his finest pieces and sold to the most prestigious clientele.
Although BVRB collaborated with different marchands and was constrained by their individual demands, he developed a highly personal and distinctive style which makes his work instantly recognizable. Perhaps the most significant sign is the exceptional quality of his mounts. Their impeccable ciselure lends them a sculptural fluidity unmatched by his contemporaries and most are unique to his oeuvre. This not only identifies his work but also suggests that unlike other ébénistes, he either designed his own mounts or retained a bronzier for his exclusive use. BVRB is also credited with reviving the great marquetry tradition of Louis XIV masters such as André-Charles Boulle, and especially the development of a particularly refined form of end-cut marquetry known as 'bois de bout' marquetry which is seen in the flowering branches on the second jewel cabinet.
MADAME DE POLES
The sales of the collection of Madame de Polès which took place at Galerie Georges Petit in 1927 and Galerie Charpentier in 1936 were landmark events in the market for French fine and decorative arts, with historic works by Fragonard, Boucher and Hubert Robert alongside masterpieces by all the best cabinet-makers of 18th century France such as André-Charles Boulle (including the center table which when sold from the Riahi Collection at Christie's in 2000 made a world record for furniture by Boulle which still stands to this day), B.V.R.B., Martin Carlin, Jean-Henri Riesener, David Roentgen and R.V.L.C.
THE DESIGN
This model of jewel-coffer secretaire en cabinet was almost certainly supplied by the marchand-mercier Simon-Philippe Poirier. Executed in both bois de bout and early neo-classical marquetry, simple parquetry and even Japanese lacquer, the model is known to have been made by other ébénistes ranging from Jean-Françcois Leleu and Joseph Baumhauer to Guillaume Kemp and Roger van der Cruse, dit Lacroix. The categoric link with Poirier was provided by an example by BVRB veneered in Japanese lacquer, whose interior drawer was inscribed 'Poirier..Marchand' (sold from the Alexander Collection, Christie's New York, 30 April 1999, lot 105).
Stamped examples by BVRB comprise three variants of this model: examples with a plain veneered fall front, those with bois de bout flowering branches and a third group with neo-classical vase marquetry. This last iteration is particularly rare as it is among the earliest examples of BVRB incorporating neo-classical ornament in his work and illustrates the moment when tastes began to change from purely naturalistic forms and decoration. Other than the present lot, only one other stamped example is known; formerly in the collection of Penard y Fernandez, it was sold at Etude Picard Tajan, Monaco, 17 March 1988, lot 89. A plain veneered example was anonymously at Christie's New York, 9 May 1985, lot 190. Examples featuring bois de bout flowering branches are more prevalent and include one sold from the Elizabeth Stafford Collection at Christie’s, New York, 1 November 2018, lot 1224 as well as several others that are unstamped. One is in the Forsyth Wickes at the Museum of Fine Arts, Boston (formerly in the collection of the Counts Potocki, Lancut, Poland, no. 62.2504, illustrated in P. Verlet, Les Meubles Français du XVIIème siècle, Paris, 1982, fig. 151) and another was sold anonymously at Sotheby's Monaco, 22 June 1986, lot 634.
BERNARD II VAN RISENBURGH (c.1696-1767)
Bernard II Van Risenburgh, known by his initials as BVRB, was one of the most celebrated ébénistes of his era. After gaining his maitrise in 1730, BVRB established his own workshop independently of his father where his work stood apart from that of his contemporaries with its innovative conception, construction and innovative gilt bronze mounts. He worked almost exclusively for the foremost Parisian marchands-merciers of the mid-18th Century such as Thomas-Joachim Hébert, Lazare Duvaux and Simon-Philippe Poirier. They supplied BVRB with the rich and exotic materials such as Japanese lacquer and Sèvres porcelain, which were incorporated into his finest pieces and sold to the most prestigious clientele.
Although BVRB collaborated with different marchands and was constrained by their individual demands, he developed a highly personal and distinctive style which makes his work instantly recognizable. Perhaps the most significant sign is the exceptional quality of his mounts. Their impeccable ciselure lends them a sculptural fluidity unmatched by his contemporaries and most are unique to his oeuvre. This not only identifies his work but also suggests that unlike other ébénistes, he either designed his own mounts or retained a bronzier for his exclusive use. BVRB is also credited with reviving the great marquetry tradition of Louis XIV masters such as André-Charles Boulle, and especially the development of a particularly refined form of end-cut marquetry known as 'bois de bout' marquetry which is seen in the flowering branches on the second jewel cabinet.
MADAME DE POLES
The sales of the collection of Madame de Polès which took place at Galerie Georges Petit in 1927 and Galerie Charpentier in 1936 were landmark events in the market for French fine and decorative arts, with historic works by Fragonard, Boucher and Hubert Robert alongside masterpieces by all the best cabinet-makers of 18th century France such as André-Charles Boulle (including the center table which when sold from the Riahi Collection at Christie's in 2000 made a world record for furniture by Boulle which still stands to this day), B.V.R.B., Martin Carlin, Jean-Henri Riesener, David Roentgen and R.V.L.C.