A fine and rare tulipwood, stained maple, sycamore, amaranth, thuyawood, kingwood marquetry and parquetry bureau en pente stamped 'Hache Fils à Grenoble ' and with the printed trade label dated July 1778

the fall-front inlaid with a demi-lune enclosing a neo-classical vase with laurel swags with a roundel at each corner enclosing a paterae, the two larger suspending a laurel swag opening to reveal a leather-lined writing surface, the inside with diaper motifs above two long and three short serpentine drawers, the central drawer stamped ''Hache Fils à Grenoble", the right hand drawer fitted with ink pot, sander and receptacle for writing implements, above two slides inlaid with an eliptical motif and quarter-veneered, the right one sliding to reveal the trade label dated July 1778, the sides similarly inlaid to the fall-front with a rounded elliptical motif and patera, the reverse with a roundel all within amaranth banding, on cabriole legs terminating in gilt-bronze sabot 

Probably delivered directly to Monsieur Fidard de laTour, President of the Grenoble Parliament and close friend of the Hache family

The colour overall is less greenish with more contrast of colours of the different woods and much more attractive than in the catalogue photograph. Some very minor restorations to veneer which have been very well executed and are hardly noticeable. Very attractive detail to marquetry. The internal slides are a little stiff and would benefit from easing. A very rare example of a bureau de dame by Hache in the Neo-classical, Transitional style. In overall very good conserved condition. A collector's piece and highly recommended.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
H.Clerc, Hache ébéniste à Grenoble, Musée Dauphinois, Glénat, Grenoble, 1997.
P.Kjellberg, Le Mobilier Français du XVIIIème siècle, dictionnaire des ébénistes et des menuisiers, Tours, 1998.
J.Nicolay, L'art et la manière des maîtres ébénistes français au XVIIIème siècle, édition Pygmalion, 1976.
Pierre Rouge and Françoise Rouge, Le génie des Hache, Dijon, 2005, pp. 181-192.
Le Comte de Salverte, Les Ebénistes du XVIIIème siècle, leurs oeuvres et leurs marques, Paris, 1962.
Barbara Scott, `Infused with silken flowers,' Country Life , March 26^th 1998, p. 100.

This piece is unusual in that many of the other recorded examples of bureau de dame by the Hache dynasty are usually in the Louis XV rococo style rather than the neo-classical transitional style as this piece. It is characteristically veneered in various woods such as tulipwood and rootwood juxtaposed to great effect. The design is more reminiscent of the oeuvre of Jean-François Hache (1730-1796), with his trademark roundels at the angles with a patera suspending a swag centred by a neo-classical urn. See, for example, the secrétaire à abattant by Jean-François Hache circa 1771, with a fall-front inlaid with roundels at the angles and centred by a swag draped neo-classical urn, sold lot 226, Christie's New York, Arts of France,  21^st October 1997.

Also see a transitional commode with swags roundels and patera with the same Hache stamp and label, sold as lot  144, in these Rooms, 5th July 2006.

The Hache Dynasty:

The Hache family was one of the most prolific dynasties of cabinet-makers in the 18th century. Jean-François Hache (1730-1796) was the son of Pierre Hache (1703-1776), and both father and son's oeuvre is characterised by the use of distinctive woods such as amaranth, birch, and maple as well as fruitwoods, sometimes in bold marquetry cartouches with ebony inlay, or ebonised banding with feather-banding veneer used to highly decorative effect. 

In 1756, Jean-François Hache spent several months in Paris and probably worked under the royal cabinet-maker Jean-François Oeben. From around 1760, Jean-François Hache used his own personal stamp, `Hache fils à Grenoble'. As stated by Barbara Scott, when discussing the Hache dynasty op. cit., p. 100, `They had an exceptional eye for the grain and colour of different woods, contrasting richly figured boxwood with golden panels of tulipwood polished to shine like watered silk. Particular care was taken in staining woods, for which they had a secret recipe. Their celebrated light green was obtained from an infusion of chervil and parsley.'

This unique piece will be included in the forthcoming catalogue raisonnée of François and Pierre  Rouge `Le Génie des Hache'.