Schwerdfeger probably took advantage of the disgrace of his compatriot in 1784, since the Queen commissioned him, as early as 1786, furniture for her bedroom at Trianon. Consisting of a commode, a table, and a console table, these furnishings, delivered in 1788, are now partially kept in its initial location, only the commode belongs to the collections of the Museum of Fine Arts in Boston. The royal console table is not without some analogies with ours. Though the decoration differ, mainly with basket willow and trellis motifs, the structure of the two furnitures can be compared. The trapezoidal table top and cross-table are supported by six feet joined together.
Jean-Ferdinand Schwerdfeger's productions are characterized by a great attention to details: mahogany-veneered oak frames, adjustable assemblies, feet mountings with threaded rods and copper nuts, concealed fixation of the bronzes. The latter are always of an admirable finesse, which suggests that his collaboration with the bronze artisans Thomire, Duport and Morant, and the gilder Mellet was not ephemeral. Unlike Marie Antoinette's console table, our console table has a very aerial aspect, by its small concave sides and the absence of a back panel. The bluish grey marble of Saint-Béat (Haute-Garonne) table top is supported by a thin mahogany-veenered apron, molded and decorated with a chased and gilt bronze frieze. This alternates with stylized florets and palmettes, like the top frieze of the Queen's jewellery case. Bronze threading with motifs of water leaves, heart-leaves, beads, and olives with foliages approach to frame it. The capitals chased with spear-shaped leaves adorn the upper part of the six legs with hexagonal sectioning, while thin patterns of vine branches climb to their base. The gallery adorning the small cross-bar table is quite remarkable with Greek motifs that compose it, atop the point. Six toupie feet with bronze tips support the entire structure.
A pair of high shelf corners with similar decor is today probably listed in a private collection, and would have been executed for the same patron. The latter still remains unknown to date, few archives enable us to retrace precisely our cabinetmaker's career amidst the pivotal political scene during the Revolution. An inventory drawn up in 1803, on the death of his wife, nevertheless confirms that he then possessed a prosperous workshop, until his death in 1818. He was then specialized in mahogany clock cases. We recall his collaboration with the famous clock maker Antide Janvier after 1789 with an impressive clock with a moving sphere and a planisphere, known as an "astronomical masterpiece", now belonging to a private collection.
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