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A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND FRUITWOOD MARQUETRY COMMODE
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND FRUITWOOD MARQUETRY COMMODE
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND FRUITWOOD MARQUETRY COMMODE
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND FRUITWOOD MARQUETRY COMMODE
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A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND FRUITWOOD MARQUETRY COMMODE

BY PIERRE ROUSSEL, CIRCA 1750

Details
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND FRUITWOOD MARQUETRY COMMODE
BY PIERRE ROUSSEL, CIRCA 1750
With breche d'Alep marble top, the serpentine front inlaid with lush sans traverse floral marquetry, the sides with floral spray panels, stamped P. ROUSSEL, one chute spuriously stamped with the C couronné poinçon
35 in. (89 cm.) high, 50 ¾ in. (129 cm.) wide, 23 ¾ in. (60.5 cm.) deep
Provenance
Acquired from S. Chalom, Paris.
Literature
P. Verlet, Les Ebénistes du XVIIIe Siècle Français, Paris, 1963, p. 131.
Special notice

Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.
Please note this lot will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) at 5pm on the last day of the sale. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services. Please consult the Lot Collection Notice for collection information. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk and will be sent with your invoice.
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Lot Essay

Pierre Roussel, maître in 1745.

Established in the rue de Charenton at l'Image de St. Pierre, Roussel was described as early as 1769 in the Almanach de Vray Merit as: l'un des premiers ébénistes de Paris. Particularly renowned for his floral marquetry, often executed for the German market and characterized by the heavy use of engraving to enhance its naturalistic quality, this commode typifies Roussel's style of the early 1760s.
A very closely related commode by Roussel with nearly identical floral marquetry and ormolu mounts, previously in the duchesse de Lévis Mirepoix's collection, then in the Huntington Collection, San Marino, California, was sold from The Alexander Collection; Christie's, New York, 30 April 1999, lot 180 ($244,500).
Other closely related commodes include one sold Christie's, London, 10 June 2004, lot 132; another at Christie's London, 16 December 1966, lot 178; and one at Ader Tajan Paris, 23 November 1994, lot 156. A final example, previously in the Collection of the Earls of Harewood, was sold Sotheby's, Chesterfield House, 7 April 1932, lot 287.
The Inventory drawn up by Leleu and Cochois following Roussel's death in 1783 reveals an atelier at the height of its activity. However, whilst most of the ébénisterie appears to have been executed on the premises, often by Roussel's sons Pierre Michel (maître in 1766) and Pierre le Jeune (maître in 1771), the ormolu mounts were supplied by specialist bronziers, including Turchin, Ravrio and the doreur Trufot. It is, therefore, not surprising that the same encadrement mounts feature on commodes by both Mathieu Criaerd and the marchand-ébéniste Adrien-Faizelot Delorme (ibid., pp. 72-3 and 117), whilst the same goût grec angle-mounts are to be found in the oeuvre of Jean-Baptiste Fromageau (maître in 1755), P. Kjellberg, Le Mobilier Français du XVIIIe Siècle, Paris, 1989, p. 329-30).

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