the upper section containing the white enamel dial with Roman numerals within a cartouche shaped case, the movement signed 'Mynüel à Paris', above five pigeon holes on cabriole legs, the lower section with a serpentine front and a cupboard door on each side, panelled and centred by a gilt-bronze foliate and rocaille mount, above a shaped apron centred by a gilt-bronze boss, on bracket feet, with foliate, rocaille and acanthus leaf gilt-bronze mounts throughout, stamped twice, 'BVRB, JME'
M.J.P. Baroli, Le Mysterieux B.V.R.B. Enfin Identifé, Connaissance de Arts, No. 61, March 1957, pp. 56-63.
Alexandre Pradère, French Furniture Makers, The Art of the Ébeniste from Louis XIV to the Revolution, Tours, 1989, pp. 183-199.Gillian Wilson et Al., European Clocks in the J. Paul Getty Museum, California, 1996, p. 78, No. XI, (Inventory no. 83.DA. 280)
Bernard II Vanrisamburgh (after 1696 - c.1766), received Master before 1730.
Only a few cartonniers by B.V.R.B. are recorded. For similarly designed cartonnier, see the example attributed to B.V.R.B., inlaid with floral marquetry, offered for sale at Sotheby's, Monaco, 19th June 1992, lot 655. It also showed a solid section at the sides of the upper section, joining the front and the rear cabriole legs. It also has a lower section of the same serpentine form as the present piece with a door on each side.
A related cartonnier with the upper and lower sections of very similar form stamped B.V.R.B. and Joseph (although this has a clock on the top which clearly does not belong) is now in the Hermitage, Leningrad and illustrated by Pierre Verlet, Les Meubles Francias du XVIIIe Siècle, Paris, 2nd Ed. 1982, fig. 165.
Gillian Wilson, op. cit, page 83, illustrates a black vernis martin cartonnier stamped by B.V.R.B, (although this example is more elaborate), possibly commissioned by Hébert, the marchand-mercier for whom B.V.R.B. worked. It has a similar boss mount at the front of the lower section and entwined foliate bands. Gillian Wilson stated that B.V.R.B. seem to have made very few clock cases and none are known to bear his stamp. However it is curious to notice that the list of pieces sold by B.V.R.B. to his son Bernard III October 18th 1764, mentions 'deux bâtis de pendule à serre-papiers garnis de bronzes' see Pradère op. cit. p.199. These are the only clocks listed amongst thirty seven pieces of ébénisterie.
The mounts on this cartonnier are typical of the work of B.V.R.B. The entwined trails of foliage can be seen on several other pieces by him., such as the commodes in the J. Paul Getty Museum (Accession no. 71.D.A.96.1-2 and No. 55.D.A.2). The triangular shaped mount at the arch on the sides is a common mount on B.V.R.B. pieces; it is repeated on a small centre table, illustrated by Baroli op. cit. p.63 and on a stamped bureau de dame sold from the Gutzwiller Collection Sotheby's, London, 12th and 13th December 1996, lot 175. The mounts around the clock are used by B.V.R.B. on other pieces such as a low cabinet with marks of the Château de Bellevue illustrated by Pradère op.cit. p. fig. p. 198. The latter also has corner mounts immediately above the feet identical to those on the lower section of the present piece.
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