A gilt-bronze-mounted brass and ebony inlaid amaranth bureau plat stamped twice E. Doirat (c.1675-1732) Régence, circa 1720

with a rectangular gilt-bronze banded leather inset top with canted corners above a recessed sloping fronted central drawer flanked by a drawer on either side with gilt-bronze banding, foliate cast handles and escutcheons, opposing dummy drawers, the shaped frieze applied with a gilt-bronze rosette, the sides centred by a female espagnolette mask, the knees with a bearded male mask in a feathered headdress, on cabriole legs and hoof feet; mounts regilt



 

The colour of the gilt-bronze is less greenish and more attractive and natural in the catalogue photograph. There are two vertical hairline cracks in the canted sections flanking the central drawer on the reverse and also there is a vertical crack in the left canted section flanking the front drawer. There is a vertical crack above the front right leg which can easily be filled. There are some old minor restorations to the veneer. There are some hairline cracks generally commensurate with age. The bronzes have been regilt in the last half of 20th century and there is an independent expert's report on the bronzes available from the department upon request. There are some internal alterations. There is slight disclouration to the veneer at the top of the central drawer beneath the gilt-bronze band but this is not too noticeable. The dummy drawer at the back has a gap between it and the carcass and the veneer above both the front central and rear drawer is lacking veneer. There were possibly formerly mounts above the central frieze drawer and flanking the central drawer there may well have been a boldly scrolling acanthus leaf mount. Good large size and impressive model. In overall good conserved condition. There is an almost identical bureau plat in the Huntingdon collection, San Marino, California which has been attributed to André-Charles Boulle in 2006, published in the Furniture History Society Journal, 2006, pp 53-61 and also in the Huntingdon Collection Catalogue, 2007, no. 1, pp 51-54. Further details are available from the department upon request.
"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:
Jean-Dominique Augarde, Etienne Doirat, Menusier en Ebène, The J Paul Getty Museum, Journal, Vol. XIII, 1985, (Acquisions 1984) pp. 33-52.
Alexandre Pradère, French Furniture Makers, The Art of the Ebéniste from Louis XIV to the Revolution, Tours, 1989, pp. 121-123.

Doirat was, together with Cressent and Gaudreaus, one of the most important of the Régence ébénistes and the only one who used to stamp his production, which is usually made in palisander wood with a distinctive diamond-shaped parquetry and more rarely in amaranth and kingwood as on the present impressive example.

Doirat's Mounts:

When his pieces cannot be identified by a stamp, the mounts, peculiar to his pieces usually leave no doubt of their authorship. The same gilt-bronze mounts were repeated on his furniture and from the bills, he appears to have had a stock repertoire of mounts. His inventory in 1732 lists,` 100 livres weight of imperfect lead casts used for garnitures for commodes and other furniture and then 250 livres of mounts, either chased or unchased, repaired for garnitures for commodes and other pieces'. This would seem to indicate that he kept control of his bronze casts, although not exclusively as Augarde, op. cit., p. 36, states that four fondeurs are referred to in the inventory of the business after Doirat's death: Julien Boucher and Pierre Marchand -the latter a creditor for 1219 livres and Jacques Guinand and Couteux for 43 and 26 livres respectively. 

A related bureau plat attributed to Doirat was offered for sale Sotheby's, Paris, 17^th December 2002, lot 33.

Etienne Doirat received Master 1732.