Exceptionally commode rosewood veneer opening by three drawers separated by bronze frames.
The front uprights with wide curves in the extension of the sides, rear projections amounts.
The low cross fret.
Rich bronze ornamentation carved and gilded backgrounds:
Pull handles, entrances to the masks of Bacchus, the sides adorned Trophies full of Hercules wearing the skin of the Nemean lion, amounts falls chimeras, the cross central "to the blower old" sticks low frieze ovals ... ..
Marble top: Cherry red eye partridge from Caune-Minervois.
Royal decreed career in 1692 by Louis XIV used to Versailles.
It is interesting to note that a vein including green lines was operated from 1712 under the rock Buffens. (The marbles of the Minervois, Jean Louis Bonnet)
Built in fir, walnut drawers funds.
Work Regency period Parisien 1720.
Width: 128 cm, Height: 83 cm, depth: 63 cm
The shape is very typical of the reign of Louis XIV, with a box D, close ties of soil and friezes of ovals
Yet our convenient date of the beginning of the regency to 1715 to 1720.
Several details confirm this dating:
The presence of a marble top, appeared for the first time on dressers 1720.
The formerly straight through under Louis XIV and emblazoned on our model a little scalloped apron.
The masks of Bacchus.
After a late enough pious reign of Louis XIV, Philippe d'Orleans assumed the regency, a great lover of wine, grandchildren dinner last all night and turn to outright orgy ....
Henceforth be it painting, sculpture or architecture, Bacchus god of wine, drunkenness and the overflow becoming fashionable.
Comparative analysis :
Our model is part of a small set of drawers produced in Paris around 1715.
Formerly given to the cabinetmaker and mercer Auburtin Gaudron, we know recently that Jacques Philippe Carel also produced similar models.
The convenient passed on sale November 5, 2014 at Sotheby's in Paris Lot 39 (99 900 euros) sports the same masks of Bacchus and similar rear feet.
The stamp Carel this model brings a new look.
Indeed convenient shapes and designs but identical bronzes native wood veneers are attributed with certainty to Thomas Hache.
Now we know that Jacques Philippe Carel was an apprentice in the workshop of master Grenoble in 1712, before climbing to Paris where he ascended to the Masters in 1723.
It is likely he kept the same form for its convenient rear projections with these recurring in Hache, while enriching bronzes and precious wood veneers.
Price : on request
Price : on request
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