Notes
Comparative Literature:
Peter Fuhring, Designs for and after Boulle Furniture, The Burlington
Magazine, vol. CXXXIV, no. 1071, June 1992, pp. 350-362.
Alexandre Pradère, French Furniture Makers, The Art of the ébéniste from
Louis XIV to the Revolution, Tours,1989, pp. 63-65.
Jean Nérée Ronfort, André-Charles Boulle 1642-1732, Un nouveau style
pour l’Europe, Paris, 2009.
Jean Piere Samoyault, André-Charles Boulle et sa Famille, Paris, 1979,
p. 122 item
Peter Thornton, Seventeenth–Century Interior Decoration in
England, France & Holland, London,1978, fig. 31.
Louis XIV faste et Décors Mai-Octobre, 1960, Musée des Arts Décoratifs,
Palais du Louvre-Pavillon de Marsan,Pl. XXXIII, no. 78.
We would like to thank Martin Snape and Dr Christine Hodgetts for their
assistance regarding the Warwick Castle Provenance.
The attribution to Alexandre–Jean Oppenordt (1639-1715):
The exceptional quality of the marquetry inlay in brass, pewter and
tortoiseshell on this bureau Mazarin is almost certainly by the
celebrated and supremely talented ébéniste ordinaire du roi, Alexandre–Jean
Oppenordt. It is rare to find a bureau in three tone marquetry which
includes brass, pewter and tortoiseshell, more commonly this type of
marquetry is in brass and tortoiseshell. What is intriguing however, is
the stamp of I Dubois on this desk, a restorer’s stamp from the
mid 18th century, when the desk was probably restored by him and the
legs brought into line with the prevailing taste at that time. It is no
coincidence that one of the most outstanding ébenistes of the middle
years of the 18th century, Jacques Dubois, took it upon himself to
restore an early 18th century piece and add more fashionable rococo
legs, which, even later on in that century would have been recognised as
a tour de force in the employment of exotic and precious materials
combined with outstandingly skilled ébénisterie confirming that metal
inlaid boulle furniture was highly prized throughout the 18th century.
The attribution of this bureau Mazarin to Oppenordt can be made on the
basis of its striking similarities to other pieces known to be by or
attributed to him. Attributions to this maker are often made on the
basis of their similarity to a celebrated bureau brisée, belonging to
Louis XIV and delivered on 25th July 1685 for 240 livres which is now in
the Metropolitan Museum of Art, New York (inv. 1986. 365.3), reproduced
here in fig. 5. The similarity of the top on the Metropolitan bureau to
that on the present piece can be seen in the geometric framework of the
design, fluidity of the rinceaux, husk trails and scrolls. What is most
noticeable is that in both the Metropolitan bureau's top and the top of
this bureau is the double symmetrical composition of both right and left
sides flanking the central design. In addition, the design subtly
imitates ironwork.
Furthermore, there is the profuse use of the trefoil motif which on the
Metropolitan bureau is incorporated into a fleur de lis at the angles
and below the initials. It is also worth noting that the boulle design
runs along the curved edge of the bureau in both examples. One should
also compare the design of the parquet with tortoiseshell and brass
marquetry from the Swedish Royal Coach made in 1696 by the menuisier du
roi certainly Oppenordt, after designs by Jean Berain at a cost of 600 L
(Royal Palace , Stockholm), illustrated by Pradère, op. cit., p. 65,
fig. 11.
Another strikingly similar piece in terms of the design of the top, is
an important commode in brass and tortoiseshell attributed to Oppenordt,
sold lot 63, Sotheby’s, Paris, 23rd March 2006 (360,000E). The top
is very similar to that on this bureau with a central reserve flanked on
either side by a symmetrical design of rinceaux, husks and scrolling
foliage within a geometric strapwork framework, the top of which is
reproduced here in fig. 6. It was attributed to Oppenordt on the basis
of similarity with the top of the bureau brisée in the Metropolitan
Museum (see ante).
It is also worthwhile comparing the marquetry on the door of a pair of
cabinets in Stratfield Saye, Hampshire, ancestral home of the Duke of
Wellington since 1817, with the marquetry on the top of this bureau,
which is very similar in conception with strapwork, rinceaux and a
quatrelobed reserve with a foliate motif in the centre reproduced here
in fig. 7. The aforementioned cabinets by André-Charles Boulle
(1642-1732) reflects the homage paid by him to his elder contemporary,
Alexandre-Jean Oppenordt, even though the Boulle is erroneously regarded
as the prime innovator of metal inlay on furniture, due in no small part
to the extensive publications of his designs and much larger workshop
than Oppenordt. Samoyault, op. cit., p. 122, list the inventory after
Boulle's death as containing at item 25, `Une portefeuille de paysages
colorés de Van Hude, Monières, Mouffetar, Oppenor et Inselin, prisées...',
which would seem to confirm that Boulle owned landscapes by Oppenordt.
Boulle may well have also had designs by the by him and Fuhring op.
cit., p. 357, states that one artist who worked for Boulle was
Gilles-Marie Oppenordt (1685-1742), the son of Alexandre-Jean Oppenordt,
which may have influenced Boulle in the design of the marquetry on the
Stratfield Saye cabinet (see ante).
The form of ths type of bureau mazarin in boulle marquetry on cabriole
legs is very rare but one should consider a 17th century bureau in
boulle marquetry with cabriole legs, conceived in a similar vein to this
bureau, illustrated in Louis XIV faste et Décors Mai-Octobre, 1960, Musée
des Arts Décoratifs, Palais du Louvre-Pavillon de Marsan, illustrated
Pl. XXXIII, no. 78, stated then to be in the collection of Baron de Rédé,
reproduced here in fig. 8. A related bureau brisé attributed to Pierre
Gole in pewter and brass contre-partie boulle marquetry on later
cabriole legs, sold, lot 51, Christie’s, 13th June 1991. It is
conceived in a similar vein to the offered bureau although the marquetry
is more fluid and lacks strapwork cartouches on the top, but there are
similar masks on the top to those upon this bureau.
The other exceedingly rare feature of this bureau is the back
exquisitely veneered with various woods in foliate marquetry, which
obviously implies that the bureau was intended to be placed in the
centre of a room. There is a precedent though extremely rare for boulle
bureau mazarin's to be veneered on the back as they were more often than
not left plain as they were intended to be placed against a wall so that
the reverse was never on view.
The other comparable piece, although the marquetry is far less
sophisticated and the quality of its execution is inferior, is a Louis
XIV brass inlaid red tortoiseshell boulle marquetry bureau mazarin
supplied by Thomas Chippendale, which was offered for sale Christie’s,
Dumfries House, Vol. I, 12th July 2007, lot 53. The back of the
Chippendale bureau is very simply veneered in parquetry with a diaper
motif within a square flanked by an oblong reserve in ebony on a walnut
ground. The existence of this bureau would seem to indicate that the
leading cabinet-makers of the day in both France and England, namely
Dubois and Chippendale, were instrumental in making furniture made by
outstanding French ébénistes from the late 17th/early 18th century more
fashionable. It is recorded that Thomas Chippendale supplied the `French
commode-dressing-table’ or bureau Mazarin in 1759. The use of a
bureau Mazarin as a dressing table as Chippendale probably intended for
the Dumfries example, is demonstrated in an engraving illustrated by
Thornton, op. cit., fig, 31. (Bibliotheque Nationale, Paris). In
Christophe Gilbert’s note to the Dumfries bureau Mazarin he states
that the legs are more characteristic of mid 18th century styles, as G.
de Bellaigue has pointed out and it is therefore possible that
Chippendale reconstructed the commode much in the same way that Dubois
altered the legs on the offered bureau Mazarin. Gilbert, also states `The
most remarkable item which Lord Dumfries bought from Chippendale was `a
French Commode inlaid wt Tortoiseshell & brass £15.15s'. Another boulle
bureau mazarin with a marquetry back in various woods is in a Private
British Collection.
In conclusion therefore, this magnificent and extremely rare example of
early 18th century three coloured boulle marquetry on a bureau mazarin
with a back also veneered with sophisticated wooden marquetry, can only
have been made by a contemporary and equal of André-Charles Boulle and
the name of Alexandre-Jean Oppenordt is the obvious candidate as the
author of this piece. The exquisite quality and skill employed in the
marquetry and the striking similarity to other pieces by Oppenordt
strongly support an attribution to this maker.
Alexandre-Jean Oppenordt (1639-1715):
Born in the Dutch city of Gueldre in 1639, Oppenordt relocated to Paris
in 1668. In 1684, he initially installed himself in the privileged
Temple quartier of Paris where he was able to practice his craft without
entering into the restrictive world of guilds and corporations. In 1684,
he then secured himself lodgings in the ‘Galeries du Louvre’
which allowed him to remain there for life, along with the title of
‘ébéniste ordinaire du roi.’ However, he left in 1701 and
preferred to retire from 1684 onwards to the house at Champfleury which
belonged to King Louis XVI. The years that immediately followed this
appointment saw the creation of some of Oppenordt’s most
celebrated pieces for Versailles. In 1683, he was paid 3,600 livres for
`twelve marquetery cabinets which he made for his Majesty’s medals
at 300 livres each’. These cabinets were installed in Versailles
in niches in the Cabinet des Curiosités also called the Cabinet des Médailles
and were complimented by a sumptuous bureau (for the sum of 6,500 livres)
and four other cabinets in kingwood.
In 1685, Oppenordt was paid 240 livres `for compartments made for two
bureaux for His Majesty’s Petit Cabinet’. These were
probably the marquetry panels made for a bureau identified as from Louis
XIV’s Cabinet de la Poudre at Versailles (now in the Metropolitan
Museum of Art, New York-see ante)
Between 1684 and 1686, Oppenordt made the parquet for Louis XIV’s
Petit Galerie at Versailles. He also worked for Louvois during these
years making two pietre deure cabinets for him which are recorded and a
drawing by Berain for a cabinet in pietre dure with the arms of Louvois
confirms the collaboration between Berain and Opppenordt. Berain is
recorded as using his team of craftsmen for ebinesterie commissions that
he had received. Two works designed by Berain can be attributed to
Oppenordt: the sarcophagus commode in the Wallace collection after
engravings by Berain and the flooring in tortoiseshell marquetry of the
royal coach in Stockholm made in Paris in 1696. According to Pradere,
op. cit., p. 64, `in both cases the composition of the marquetry, made
of small arabesques delineated by bandwork,is very different from Boulle’s’.
Oppenordt was very close to Colbert de Villacerf who was superintendent
for the `Batîments du Roi' from 1691 to 1699. After spending three
months in Paris in 1687, Nicholas Tessin le Jeune (1654-1728), a Swedish
architect who recommended only two makers and states about Oppenordt's
cabinets, tables etc `Openo (Oppenordt) is a maker..for the King but
also for private clients. He can make state-of the art cabinets, tables
and other items. As his furniture is well done, he earns a lot of money
as well'. He managed to leave his son the equivalent of £62, 500 in
1701, a considerable sum at that time. His apprentices were Charles
Gallois, his cousin Tilman Brockman and Etienne Gouet. In 1694,
Oppenordt made a pilgrimage to Italy and he died in 1715. Gilles-Marie
Oppenord, A-J Oppenordt’s son, went on to work with André Charles
Boulle and to become a successful designer and architect in his own
right.
Jacques Dubois (1693-1763):
He was received Master in 1742 and was one of the most important ébénistes
of the Louis XV period. His furniture was of outstanding quality and he
produced luxury furniture in the main comprising secrétaires and bureaux
in Chinese and Japanese lacquer. He was equally specialist in restoring
Boulle marquetry pieces. One can also find his stamp on other boulle
pieces which he had restored: a boulle marquetry console sold Christie's
Monaco, Akram Ojjeh Collection, 11th December 1999, lot 45; see lot 72,
sold in these Rooms, 7th December 2000, for a pair of boulle marquetry
pedestals, circa 1710-20, attributed to André-Charles Boulle, both
stamped I. Dubois; a pair of boulle marquetry console tables attributed
to André-Charles Boulle stamped Dubois, sold Christie’s, Monaco,
11th-12th December 1999, lot 45.At the end of the inventory drawn up
after his death, there is listed a very large stock of gilt-bronze
mounts-432livres pesant de modeles de bronze, prises 1 080 L-which
according to Pradère op. cit., would indicate that Dubois was anxious to
protect the exclusivity of his bronze models and stocked large
quantities of unchased mounts which he had available for use on his
furniture.
The 2nd and 3rd Earls of Warwick and Warwick Castle, Warwickshire:
Warwick Castle was described by Sir Walter Scott as `the fairest
monument of ancient and chivalrous splendour which yet remains uninjured
by time.’
This bureau Mazarin was once part of the renowned boulle collection
which had been assembled by George, 2nd Earl of Warwick (1746-1816) and
his son Henry Richard, 3rd Earl of Warwick (1779-1853) at Warwick
Castle.
George Greville, 2nd Earl of Warwick was a nobleman and politician known
as Lord Greville until 1773. He went to Eton from 1753 to 1754 and
Christ Church Oxford for his degree and also matriculated from Edinburgh
University. He became a member of the Royal Society in 1767 and a Fellow
of the Royal Society of Antiquaries in 1768 and was a member of
parliament for Warwick between 1768 and 1773 and from 1770-74 he was
appointed to the Board of Trade. In 1771, he married the Hon. Georgina
Peachey, the daughter of James Peachey, 1st Baron Selsey, and they had
one son Henry Greville. He was Recorder of Warwick from 1773-1816 and
Lord Lieutenant of Warwickshire 1795-1816. The 2nd Earl bankrupted
himself in 1802 due to his passion for collecting and profligate
spending on works of art. He was known for collecting boulle furniture,
pietre dure tables, works of art and the celebrated Warwick vase from
his uncle Sir William Hamilton.
Henry Greville, 3rd Earl of Warwick (1779-1853) was a British Tory
politician. He was by George’s second wife, Henrietta and was
educated at Winchester. He entered Parliament in 1802 and held the seat
until he inherited the Earldom from his father in 1816. He served as
Lord-in-Waiting (government whip in the House of Lords) from 1841 to
1846 in the second Tory administration of Sir Robert Peel. Henry was
also a Recorder of Warwick between 1816 and 1835, Lord Lieutenant of
Warwickshire between 1822 and 1853 and Lord of the Bedchamber between
1828 and 1830. In 1827, he was appointed Knight of the Thistle. He was
also Lord in Waiting 1841-46. He married Lady Sarah Elizabeth daughter
of John Savile, 2nd Earl of Mexborough and widow of John Monson, 4th
Baron Monson, in 1816. The 3rd Earl was less extravagant than his father
George, and he extended the collection purchasing ebony furniture with
sumptuous inlay and works of art. The state rooms were filled with works
of art listed by Kendall.
The 1900 heirloom inventory lists the documented furniture by Boulle
acquired for Warwick and in addition to the offered bureau includes:a
pair of torchères (sold in 1968 at the same sale as the offered bureau
and then again by them in 11th June 2003, lot 30), a rectangular table
sold from the de Pauw collection, Sotheby’s Monaco, 23rd June
1986, lot 626, a bureau plat sold at Christie’s Geneva,18th
November 1974, lot 54 and a régulateur in the Cedar Room at Warwick.
