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48
A French gilt-bronze mounted ebony and Japanese lacquer meuble d'appui, first quarter of 19th century, stamped E. LEVASSEUR
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48
A French gilt-bronze mounted ebony and Japanese lacquer meuble d'appui, first quarter of 19th century, stamped E. LEVASSEUR
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拍品詳情

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巴黎

A French gilt-bronze mounted ebony and Japanese lacquer meuble d'appui, first quarter of 19th century, stamped E. LEVASSEUR
decorated with Japan lacquer panels figuring flower vases on the front and partridges on the sides, in aventurine frames; the vert de mer marble top above the front centered by a slightly outset door, flanked by two other doors with walnut-inlaid frames
Haut. 96 cm, larg. 187,5 cm, prof. 46 cm ; height 37 3/4 in; width 73 3/4 in; depth 18 in
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來源

Galerie Aveline - Jean-Marie Rossi, Paris
Parisian private collection

相關資料

The creator of this elegant piece of furniture is probably the cabinetmaker Etienne Levasseur (1721-1798), who was received as master in 1767, or his son Pierre-Etienne who continued the family business during the first quarter of the 19th century (see A. Pradère, "Boulle, du Louis XIV sous Louis XVI" in L' Objet d'art No. 0, June 1987, p.62). Their workshop was extremely famous for their know-how in Boulle marquetry, but also for their furniture with Japanese lacquer, such as those delivered around 1770 to the financier Randon de Boisset (see A. Pradère, Les Ebénistes français de Louis XIV à la Révolution, Paris, 1989, 315, Fig. 357).
Their production was also characterized by the use of rich gilt-bronze ornaments inspired by the Louis XIV style, like the top frieze of our meuble d'appui that can be found similarly on the bookcase with Boulle marquetry from the former Londonderry collection (see A. Pradère, op.cit., p.311, fig.352) and on a pair of cabinets from the Royal Collection, also adorned with Japanese lacquer panels (inv. RCIN 2464 ).
In addition, there are Japanese lacquer panels adorned with similar flower vases on a pair of cabinets by Nicolas Petit (consult T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 2000, 231). Fig. 113) and on a cabinet by Weisweiler in the Nissim de Camondo Museum (inv 121).

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