Jacques van Oostenrijk, dit Dautriche, maître in 1765
Jacques van Oostenrijk was born in the Low Countries and settled in Paris sometime before 1743, at which time he gallicized his name to Dautriche. Until he became maître in 1765, he worked as an independant journeyman, specialising in marquetry. The similarity between his work and that of Jean-François Oeben would suggest that Dautriche must have worked for him. Not only is the marquetry similar, but also the mounts and the overall shape of the furniture.
Dautriche was for a long time estalished in the rue Traversière, moving towards the end of his life to the rue du Faubourg Saint-Antoine. Among his clients was the Comte d'Artois. When he died in 1778, his workshop was taken over by his widow Elizabeth Hannot and his son Thomas-Jacques Dautriche, who was later to take part in the storming of the Bastille.
THE ATTRIBUTION TO DAUTRICHE
The present cabinet, with its strong architectural form with Vitruvian-scrolled frieze supported by fluted pilasters, closely resembles several pieces by Dautriche:
- Meuble d'appui sold from the Ricardo Espirito Santo Collection, Ader Picard Tajan, 14 June 1977, lot 122.
- Meuble d'appui sold anonymously, Ader Picard Tajan, 18 March 1980, lot 150.
- Meuble d'appui illustrated in P. Kjellberg, Le Mobilier Français du XVIIIe Siècle, Paris, 1989, p. 222 A.
- Meuble d'appui illustrated in ibid., p. 222 B.
All four cabinets share the same concave sides, and the first two have very similar scrolled frieze mounts and large rectangular paterae on the bases of the pilasters. While the first two cabinets have pilasters on the canted angle, the latter two are conceived in the same architectural way with the pilasters on the front. An encoignure by Dautriche, illustrated in ibid., p. 223 D, has a Vitruvian-scrolled frieze and fluted pilasters with similar square paterae to their bases.
Dautriche was certainly among the first ébénistes to introduce the new neo-Classical style to France. The similarities to the famous bureau plat supplied by Joseph to Ange-Laurent Lalive de Jully for L'Hotel de la rue St. Honoré are quite clear: an overall architectural form, heavily rectilinear, with a Vitruvian-scrolled frieze supported by fluted column legs headed by paterae (ibid, p. 449 C).