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A highly important and very rare Empire gilt and patinated bronze oak-lined mahogany console table attributed to the renowned ébénistes Jacob-Desmalter et Cie with bronze mounts attributed to the preeminent bronzier Pierre-Philippe Thomire, after designs by the architects and designers Charles Percier and Pierre-François-Léonard Fontaine and most probably supplied by the marchand-mercier Martin-Eloi Lignereux, the original rectangular Portoro extra marble top above a frieze ornamented with a central bronze mount comprising a pair of lionesses issuing foliate scrolls are drinking from a fountain, with further palmetted mounts at either end of the frieze above circular stiff leaf capitals on magnificent patinated and gilt bronze winged Egyptian female monopodia supports, each with beautiful faces beneath headdresses and hair in ringlets with tasselled drapery beneath their breasts on a lion paw foot, with a mirrored back on a shaped plinth
Paris, date circa 1805-10
Height 92.5 cm, width 143.5 cm, depth 46 cm.
The importance of this stunning console is not only due to its beauty, its quality and rarity but also that the winged female supports are made entirely of bronze rather than carved wood thus strongly suggesting that the work was made as a special commission. Like a number of comparable pieces, this magnificent console is not stamped but was undoubtedly created by some of the leading makers of the day. Based on the quality of the bronzes and comparison with other similar female monopodia supports these were almost certainly made by the preeminent Empire bronzier, Pierre-Philippe Thomire (1751-1843). When creating more important pieces Thomire very often worked in association with the leading firm of Parisian ébénistes, namely Jacob-Desmalter et Cie run by François-Honoré-Georges Jacob-Desmalter (1770-1841) and his father Georges Jacob (1739-1814), who produced a number of similar consoles. Furthermore it is almost certain that the overall design was due to the architects and designers Charles Percier (1764-1838) and Pierre-François-Léonard Fontaine (1762–1853). Finally it is highly probable that the commission for such an important piece was due to the marchand-mercier Martin-Eloi Lignereux (c. 17501809) who is known to have supplied a number of similar consoles to the Imperial residences as well as equally influential clientele. Although the exact provenance of this magnificent piece is unknown, it can be safely assumed that it was made for a member of the Imperial family or an equally important client.
Among comparable examples one can compare the beautiful winged supports with those on a yew wood console in the Grand Trianon, Versailles, which was designed by Charles Percier and made by Jacob-Desmalter for Joachim Murat at the Palais d’Elysée in 1806. Another similar mahogany console table at the Grand Trianon, again by Jacob-Desmalter, after designs by Percier was delivered in 1809 for the Elysée. In the latter example the beautiful female figures also hold their wings upright but closer to their bodies and have softer drapes under their breasts, but as most examples discussed here terminate in monopodia lion paw feet. The Grand Trianon also houses a pair of Jacob-Desmalter painted wood console tables, one made for the Salon des Grands Officiers, the other for the Salon des Princes sous Napoleon I. The latter pair have semi-circular tops supported by three winged terms, which again compare with those on this console although the ornament around their pronounced breasts differs slightly and their wings are more stretched out.
Unlike most examples where the mythological supports are carved in wood, the examples here are of bronze and are thus particularly special. The quality of finish, detail and overall design bears great similarity with equally sumptuous bronze terms made by Pierre-Philippe Thomire supporting a bureau-plat by Adam Weisweiler (1744-1820), which made prior to 1812 is now in the Palazzo Reale, Naples. As here the facial features and ornate gilded breast ornamentation is highly detailed and of the finest quality, although there are small differences such as the shape of the wings and the specific details of drapery. One can also compare the present beautiful female supports with those by Thomire but with drapery around their waists and scrolled feet, adorning a console now in the Musée du Louvre. Furthermore a slightly earlier console, likewise by Thomire, was acquired by the Russian Tsar in 1799 and is now in the Hermitage Museum, St Petersburg.
Like the comparable examples already cited as well as others listed under literature, the design for the supports is largely due to the inspiration of Charles Percier and his partner Pierre Fontaine, who adapted Greek, Roman and ancient Egyptian art to create a style that augmented and promoted Napoleon’s role as Emperor. In turn Percier and Fontaine had a profound impact on othe contemporary artists and craftsmen, especially after they published their Recueil de Décorations Intérieures, Paris, 1801-1812, which included a number of designs featuring similar supports including those for a cassolette, a table, a commode and for a tripod. In addition Percier and Fontaine were responsible for the design of related consoles executed by Jacob-Desmalter for Joachim Murat at the Palais d’Elysée in 1806 as well as the pair of consoles by Jacob-Desmalter formerly in the Marquess of Ailesbury’s collection (sold by Sir Charles Clore, at Chr Percier and Fontaine also designed a guéridon standing on related supports, which was executed by Weisweiler and the ciseleur-fondeur Feuchère for the Garde-Meuble in September 1811 (Ledoux-Lebard, op. cit., pp.86-7). One can also cite a pen and ink design by Charles Percier (now in the Musée des Arts Décoratifs) for a dressing table istie’s Monaco, 6th December 1985, lot 52).
