A French ormolu-mounted Boulle and ebony commode à vantaux
No VAT will be charged on the hammer price, but VA… Read more Since the 17th century, the luxurious effect of Boulle marquetry has had an enduring appeal. First exploited as a technique by André-Charles Boulle in his work for the French Court during the reign of Louis XIV, the technique has always been associated with the most opulent and expensive designs. Boulle, himself a bronzier, pioneered the use of the exceptionally fine and bold gilt bronze mounts that give so many pieces such sculptural presence and classical association. But in the first decades of the 18th century, although still exploiting the rich contrast of the black of the ebony, the gold of gilded bronze and brass, silver-toned pewter and often red-coloured tortoiseshell in the marquetry, Boulle introduced the light, playful designs of the dessinateur de la Chambre et du Cabinet du Roi, Jean Bérain. Now the decorative surfaces were enlivened with the small-scale, lacy designs of playful singeries, garlands of flowers and airy architectural fantasies, all held together within delicate landwork. During his own lifetime, Boulle was commissioned to make replicas of some of the great pieces made for both the King and the Court, sometimes only slightly altering the designs. After his death in 1732, Boulle's sons, who had been running the workshops since 1715, continued to produce pieces using their father's techniques and models, and demand for Boulle-marquetried furniture continued throughout the 18th century. Although there was a slight lull in popularity at the peak of the Rococo, Boulle marquetry was again at the height of fashion in the time of Louis XVI when the style of the Sun King, Louis XIV, underwent a revival. From this time until overtaken by the Empire style circa 1800, great makers such as Levasseur and Baumhauer created their own versions of Boulle's originals and adapted the decorative techniques to furniture forms popular during their own time. The taste among the great collectors for the styles of 'all the Louis' of course continued throughout the 19th century, and Boulle-style furniture held its popularity and prestige. Important makers, such as Sormani, Zwiener and Linke in France, Blake in England, turned their attention to copying or adapting the great pieces of the past, often speculatively but also frequently commissioned by the likes of the Rothschilds, the Marquess of Hertford or Henry Clay Frick. Many of these 19th century pieces took their places comfortably side by side with their predecessors from the 17th and 18th centuries in great houses such as Mentmore.
A French ormolu-mounted Boulle and ebony commode à vantaux

BY L'HOSTE, RETAILED BY DEVILLE FRÈRES, PARIS, CIRCA 1875

Details
A French ormolu-mounted Boulle and ebony commode à vantaux
By L'Hoste, Retailed by Deville Frères, Paris, Circa 1875
Surmounted by a shaped grey Sarrancolin marble top, above a central door, headed by a medallion profile of King Louis XIV, flanked to each side by a further door, the inside fitted with three adjustable shelves, above a breakfront plinth, on six toupie feet; the back stamped four times L'HOSTE and inscribed twice DEVILLE FRÈRES, 12 RUE GAILLON, PARIS
48 in. (122 cm.) high; 61¾ in. (157 cm.) wide; 19¾ in. (50 cm.) deep
Special notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

J. L'Hoste, a sculptor and cabinetmaker, established his business at 48, rue Amelot, Paris, in 1846. He exhibited at the 1855, 1867 and 1889 Paris Expositions Universelles and was awrded several medals. In the 1870s, the business took the name of LHOSTE FRÈRES.
J.-P. Deville, a very important tapissier et marchand de meubles, included amongst his clientèle the Duchesses de Berry and d'Orléans, the Duc de Nemours and Mehemet-Ali.
He relocated several times before settling at 12, rue Gaillon, in the 1860s. He exhibited at the 1855 and 1878 Paris Expositions Universelles. The company changed its name to Deville Frères in 1870, then to Ch. Deville in 1880.
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