A gilt-bronze, bois satiné and Japanese lacquer cabinet, by Maison Krieger, MM.Colin et Courcier, Paris circa 1900

with a Fleur de pêcher marble top and pierced gallery above two cupboards and a frieze drawer, the lock signed 'Maison Krieger, Ameublement Paris' , signed in ink on a lable on the reverse, "Krieger, Fbg. St. Antoine, Paris'

Exposition Universelle, Brussels 1910.

In very good condition, the bronzes of exceptional quality with very slight wear, the lacquer with some signs of old craquelure and minor flaking commensurate with age.
"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."

This side cabinet, which is of exceptional quaility is inspired by the oeuvre of Adam Weisweiler (1744-1820). There is a tradition that Weisweiler trained in the workshop of David Roentgen, whether true or not, he certainly originated from the Rhineland. He was established in Paris by 1777 in the artisan's quarter of the Faubourg St. Antoine. His work bears marked similarities with that of Carlin; they both encapsulated much of the richness of the later period of French royal furniture under Louis XVI.

The present lot is closest to a piece supplied to the king for the Cabinet Intérieur at Versailles on 11th January 1784, in the so-called style arabesque. It incorporates Japanese lacquer panels, which are imitated by Krieger. The frieze and the caryatids are typical of Weisweiler and they are also followed closely by Krieger.

Antoine Krieger, who arrived in Paris from the Alsace, is first recorded as working in Paris in 1826 with his brother. By the 1850s the firm was established in Faubourg St. Antoine, like Weisweiler himself. In the second half of the century the firm went through various changes as his sons in law became involved. Although the company name changed from "Maison Racault et Cie", to "Damon et Cie", and then, "Damon et Colin" and finally around 1909 to "Colin et Courcier", furniture continued to bear the signature Krieger or Maison Krieger. Throughout the later period they maintained a presence in other parts of the world, most notably London and Cairo.

The company exhibited all over the world during the 19th century first appearing at the Great Exhibition in London in 1851. They contributed to all the major Expositions Universelles in Paris in the second half of the century. The range of their work was especially noteworthy offering fine furniture in the Art Nouveau style in 1900 as well as furniture in classic and traditional French styles. This great series of Exhibitions, although still enduring in a slightly different way came to an end with the outbreak of war in 1914. The Exposition Universelle of 1910 in Brussels was one the last occasions when distinguished makers, most of them French, gathered to show examples of their decorative genius. This particular cabinet was shown in Brussels at that time as part of un salon Louis XVI contributed by MM. Colin et Courcier. In common with much of their work they did not slavishly copy the 18th century masters but sought to recreate a sense of the period, while maintaining an originality of design. Put simply they paid homage to the style of Louis XVI, so prized by collectors and which still endured today. 

The cabinet is illustrated as Plate 2 in "L'ameublement de luxe à l'Exposition universelle de Bruxelles 1910", where it can be clearly seen as part of the ensemble. The company was rewarded with the Grand Prix for their display and the jury reports express how highly their work was valued, "un intérieur de salon Louis XVI, qui est d'une belle pureté de lignes, tout en comportant une réelle richesse de détails, avec un soin remarquable dans l'exécution". The cabinet itself was one of the glories of the stand, "un grand bahut en bois des îles et bronzes dorés, avec panneaux de laque".