A matched pair of ormolu-mounted Boulle marquetry pedestals one circa 1765, stamped J.L. Delorme, the other circa 1825-30

each with a stepped ebonized top and curved frieze mounted with sunflowers and acanthus leaves; the front with a curved lambrequin with tasseled border, the sides with elaborate scrolling acanthus leaf mounts, the tapered body raised on a plinth base; fitted with panels of brass, pewter, brown and red tortoiseshell Boulle marquetry forming foliate rinceaux , tendrils and flowerheads.

Both of these pedestals are in largely unrestored condition, the old restorations which can be detected having been executed a long time ago. There are, therefore, the signs of wear which are consistent with age and use and include but are not limited to chips, cracks, very small losses to the veneers including the tortoiseshell and some pewter. There is some lifting to the veneers, but this is not extensive, there is a small piece of molding missing to the base of the older pedestal and each pedestals shows signs of some old small repairs. The ormolu mounts are not as bright as appear in the catalogue photograph and will certainly benefit from expert light cleaning.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This celebrated model was invented by André-Charles Boulle at the turn of the 18th century, the designs were engraved and published after 1707 by Mariette on the title page of his Nouveaux Desseins de Meubles et Ouvrages de Bronzes et de Marqueterie Inventés et Gravés par André-Charles Boulle. 

The pedestals remained fashionable throughout the 18th century.  It has long been documented that they appeared in 18th century auction catalogues, appearing in the most prestigious collections, and were purchased by equally prestigious collectors.    The opportunity to study a number of examples of this model which have appeared at public auction in the latter part of the 20th century has revealed that these pedestals remained in more or less continuous production during the 18th century.  Differences in the woods used to construct the carcase and slight differences in the treatment of the marquetry designs also reveal that they were made in a small number of different workshops.  Only rarely do they bear the stamp of the ébéniste.  Other than Delorme, the stamp of Etienne Levasseur has been recorded, as well as Nicholas Sévérin, possibly acting in his capacity as a marchand mercier.

Delorme's stamp also appears on a pair of Boulle pedestals in the Louvre.  It is of some interest to note that Delorme made other case furniture in the manner of Boulle, notably four versions of Boulle's famous medal cabinet.  One of them is at Versailles, a second is at Windsor Castle and two are in private collections.  These medal cabinets were probably commissioned by the Parisian marchand-mercier Claude-François Julliot (1727-1794) who was well known as a purveyor of furniture in the Boulle style.  A pair of pedestals of this model formerly in the Wildenstein Collection (sold, Christie's, London, December 14, 2005, lot 23 was thought to have been commissioned by Julliot circa 1750-60.

All of the pedestals which have appeared at public auction in the last 30 years have been decorated on the curved front with either a combination of pewter and stained blue horn, or, more rarely, pewter and brass.  The present examples are the only ones to date which incorporate pewter and red tortoiseshell.   Although unusual, we do know that Boulle himself created marquetry panels of red tortoiseshell and brass which he applied to the curved frieze just beneath the top on many of the pedestals produced in his workshop.