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Lot Essay
Bernard II van Risenburgh, called ‘BVRB’, maître circa 1730.
With its slender chamfered cabriole legs and the finely-chased foliate mounts adorning its frieze, this elegant table is characteristic of the oeuvre of Bernard II Van Risen Burgh (BVRB) and is closely related to the example depicted in the 1756 portrait of madame de Pompadour by François Boucher (formerly in the Collection of baron Maurice de Rothschild and now in the Alte Pinakothek, Munich, inv. no. HUW 18). The latter table is recorded in the catalogue of the sale of Boucher's estate in 1771:
1006 - Un vide-poche, fait par Bernard, il est en bois de rose et amarante, le dessus de bois de violette entouré d'un quart de rond, chute, sabots et ornements de bronze doré. Hauteur 25 pouces, longeur 15 pouces 6 lignes, largeur 10 pouces 9 lignes.
This celebrated model belongs to a group of tables all stamped by, or attributed to BVRB, almost identical to one another but displaying minor differences in the shapes of their aprons, design of their ormolu mounts or the marquetry. It is likely that this group of small tables was supplied through the intervention of a marchand-mercier such as Lazare Duvaux, who is known to have delivered furniture by BVRB to madame de Pompadour (see F.J.B. Watson, The Antique Collector, December 1960, p. 227). Indeed, on 27 January 1750 Lazare Duvaux sold to madame Rouillé une petite table à la Pompadour, avec ses cornets en bois satiné a fleurs, 72 livres (see Livre-Journal, no. 432), which could well have represented a table of this model made fashionable by, and even apparently named after, the King’s favorite.
This group can be subdivided into two categories. The first, which includes this lot, with a fixed top, is typically fitted with at least one writing-surface, and the side drawer containing an inkwell. This model was only ever intended for writing, and an example of it is recorded in an inventory of madame de Pompadour's château de Saint-Hubert: Une table à écrire en bois de rose et fleurs de bois de violette ayant par devant un tablette à coulisse couverte de maroquin noir, à droit un tiroir à clef garni d'encrier, poudrier et boite d'éponge. The second group is typically fitted with a hinged top enclosing various compartments, and a small fitted drawer to the side. This model was used by ladies for arranging ribbons and toiletries.
Related tables by BVRB are in the collections of the Metropolitan Museum of Art (see F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. 1, cat. nos. 125 and 126), while those sold at public auction include those sold from the collection of Dr. Peter D. Sommer at Christie’s, London, 4 December 2014, lots 10, 115, 116 and 117; one sold Christie’s, New York, 14 June 2016, lot 380; three sold from the Riahi Collection, Christie's, New York, 2 November 2000, lots 12, 13 and 14; two formerly in the Alexander Collection, sold Christie's, New York. April 30, 1999, lots 101 and 102; and one sold from the Wildenstein Collection, Christie’s, London, December 14 2005, lot 47.
B.V.R.B.
Bernard II Van Risenburgh (c. 1696-1767), known by his initials as BVRB, was one of the most celebrated ébénistes of his era. After gaining his maîtrise 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 fine ormolu mounts. He worked almost exclusively for the foremost Parisian marchands-merciers of the mid-eighteenth 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.
With its slender chamfered cabriole legs and the finely-chased foliate mounts adorning its frieze, this elegant table is characteristic of the oeuvre of Bernard II Van Risen Burgh (BVRB) and is closely related to the example depicted in the 1756 portrait of madame de Pompadour by François Boucher (formerly in the Collection of baron Maurice de Rothschild and now in the Alte Pinakothek, Munich, inv. no. HUW 18). The latter table is recorded in the catalogue of the sale of Boucher's estate in 1771:
1006 - Un vide-poche, fait par Bernard, il est en bois de rose et amarante, le dessus de bois de violette entouré d'un quart de rond, chute, sabots et ornements de bronze doré. Hauteur 25 pouces, longeur 15 pouces 6 lignes, largeur 10 pouces 9 lignes.
This celebrated model belongs to a group of tables all stamped by, or attributed to BVRB, almost identical to one another but displaying minor differences in the shapes of their aprons, design of their ormolu mounts or the marquetry. It is likely that this group of small tables was supplied through the intervention of a marchand-mercier such as Lazare Duvaux, who is known to have delivered furniture by BVRB to madame de Pompadour (see F.J.B. Watson, The Antique Collector, December 1960, p. 227). Indeed, on 27 January 1750 Lazare Duvaux sold to madame Rouillé une petite table à la Pompadour, avec ses cornets en bois satiné a fleurs, 72 livres (see Livre-Journal, no. 432), which could well have represented a table of this model made fashionable by, and even apparently named after, the King’s favorite.
This group can be subdivided into two categories. The first, which includes this lot, with a fixed top, is typically fitted with at least one writing-surface, and the side drawer containing an inkwell. This model was only ever intended for writing, and an example of it is recorded in an inventory of madame de Pompadour's château de Saint-Hubert: Une table à écrire en bois de rose et fleurs de bois de violette ayant par devant un tablette à coulisse couverte de maroquin noir, à droit un tiroir à clef garni d'encrier, poudrier et boite d'éponge. The second group is typically fitted with a hinged top enclosing various compartments, and a small fitted drawer to the side. This model was used by ladies for arranging ribbons and toiletries.
Related tables by BVRB are in the collections of the Metropolitan Museum of Art (see F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. 1, cat. nos. 125 and 126), while those sold at public auction include those sold from the collection of Dr. Peter D. Sommer at Christie’s, London, 4 December 2014, lots 10, 115, 116 and 117; one sold Christie’s, New York, 14 June 2016, lot 380; three sold from the Riahi Collection, Christie's, New York, 2 November 2000, lots 12, 13 and 14; two formerly in the Alexander Collection, sold Christie's, New York. April 30, 1999, lots 101 and 102; and one sold from the Wildenstein Collection, Christie’s, London, December 14 2005, lot 47.
B.V.R.B.
Bernard II Van Risenburgh (c. 1696-1767), known by his initials as BVRB, was one of the most celebrated ébénistes of his era. After gaining his maîtrise 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 fine ormolu mounts. He worked almost exclusively for the foremost Parisian marchands-merciers of the mid-eighteenth 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.