A pair of Louis XVI mahogany encoignures, attributed to Jean-Henri Riesener circa 1785

Marble possibly original, now with chips to edges; some discoloration. Marble lining to shelves with restored breaks. Age cracks to the backs with fillets to fill gaps. Nicks, chips, abrasions, and scratches to mahogany.
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 pair of encoignures is identical to two illustrated in Pierre Verlet, Le Mobilier royal français, vol. 4, Paris, 1990, pp. 105-6 and now in a private collection, Paris. The illustrated examples are stamped by Riesener and one of them bears the inventory mark of the Palais des Tuileries as well as other royal inventory marks, including two interlaced G’s surmounted by a crown. The inventory marks (No 3365/6) indicate there were originally six in the set, of which four are currently unaccounted. The set of six was originally supplied for Marie Antoinette’s private chambers at the Tuileries, as documented in the Journal du Garde-Meuble: “Du 21 dudit [8^bre 1784]. No 653. – Riezener fournira pour le service de la Reine aux Thuilleries 6 encoignures ouvertes avec les tablettes en marbre blanc et 6 gradins en encoignures suivant les mesures qui luy ont été données par M. Bonnefoy.”  While the model appears quite modest, the clean form and the emphasis on the natural graining and coloration of the mahogany are in response to the popular taste for a new refined simplicity inspired by English furniture and popularized by Marie Antoinette at the end of the eighteenth century.