An exceptional flat desk in amaranth by 'Antoine Robert Gaudreaus

An exceptional flat desk in amaranth wood rests on four curved legs and opens along its belt with three drawers that lock with a key. The desk is topped with a leather surface. The desk's frame is made of fir, while the drawers are crafted from walnut and oak. It is adorned with gilded bronzes (using the "gold varnish" technique) and chiseled decorations.
Attributed to Antoine-Robert Gaudreaus
Stamped twice with NB (probably for Nicolas Berthelmy)
Louis XV era, circa 1745
Usual restorations, modern leather, back feet replaced
H. 78 x W. 163 x D. 78 cm

We have described the desk in our study as "exceptional," but what are the reasons for this? Beyond its obvious quality of craftsmanship and aesthetic appeal, the maker and the history of the desk are key elements in the value and interest of our study's work. Indeed, how can one appreciate this desk without knowing about its twin? Thus, a very similar flat desk was delivered in 1745 to Fontainebleau for the Dauphin, specifically for his study. Now preserved at the Palace of Versailles (on loan from the National Furniture), it is part of a delivery of 18 other pieces of furniture by the renowned cabinetmaker Antoine Robert Gaudreaus. He was the cabinetmaker for the Crown's Furniture Repository and thus worked for the most prestigious patrons of his time: the king, the queen, the Dauphine, Mesdames, Madame de Pompadour, etc. Moreover, he never stamped his work, for several reasons we will explore later. Thus, the certain attribution of our desk from a cabinetmaker of his caliber, of whom few certified works are known, is highly valuable. To understand our desk, it is therefore necessary to study the Dauphin's desk.

Comparison with the Dauphin's desk:
The desk exhibited at the Palace of Versailles shares some technical similarities and differences. Its frame is also made of fir, as many frames from this period were. However, while the marquetry of our desk is in amaranth, that of the Dauphin's is in purplewood. Nonetheless, both feature a so-called "diamond point" marquetry, highly valued by Gaudreaus.
As for the bronzes, this model of desk was enhanced with richly original and significant gilded bronze compositions. Whether it be the ingot mold, the other side handles, the two impressive dragon appliqués on the sides, or the four hooked corners, both desks share the same decor. Conversely, the four cartouches at the corners of the top, the four falls, the two central lock entries, and the other feet are different. It is interesting to focus primarily on the side bronzes with dragon decor. They are extravagant in their theme and add character to the furniture. They have already been used by Gaudreaus on the apron of a commode preserved at the Hermitage Museum in Saint Petersburg (former Chouvalov collection). As for the hooks, Daniel Alcouffe considers them "archaic" in relation to the general dating of the desk: he compares them to those of Gaspard Moïse de Fontanieu's desk, delivered in 1731 by Gaudreaus to Versailles (now preserved at the National Furniture).
Finally, the dimensions and the general shape are somewhat different (the Fontainebleau desk: H. 79 x W. 145 x D. 77 cm). Ours is thus larger and has a different curve design. An interesting detail that can confirm the attribution to Antoine Robert Gaudreaus seen on both desks is a pointed notch under the lower line of the belt. This observation was also made on the slant-front desk of Marie Leczinska at Marly, and on the dining room commode of Mesdames at Versailles (this notch is seen as early as 1733 in his work).

The Dauphin's desk and documents related to its delivery provide valuable information for dating our desk. If the Dauphin's desk was delivered to the Furniture Repository on August 19, 1745 (along with 18 other pieces of furniture, following his marriage), our desk can only belong to these years. Moreover, we know that Gaudreaus delivered at least 108 pieces of furniture in 1745 (some pages are missing from the Journal). Additionally, the bronzes of the Dauphin's desk are stamped with the crowned C in use between March 1745 and January 1749. Gaudreaus died in 1746, which leaves little room for a broader dating and makes our piece one of the artist's last works.

We are very proud to present this desk, which has had the fortune to be featured in two books for the study of the National Furniture's desk: "Antoine Robert G