Description

Art deco period pedestal table.

377

Art deco period pedestal table.

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Estim. 6 000 - 8 000 EUR

Small circular table in wood and mahogany veneer, opening at the waist with a drawer forming a writing desk. It is supported by three dark copper fluted columns, joined by a concave triangular crotch shelf, adorned with a small tray on a baluster. The whole rests on small saber feet. It is embellished with exquisite ornamentation in finely chased and gilded bronze, including openwork galleries, frames, fretwork plates, rings, fluting and sabots. Paris. Late 18th century. Directoire period. Attributed to Adam Weisweiler. H_72 cm D_55 cm Restorations. Provenance : Former Dimitri Agelasto Collection, Brussels This model, almost certainly created by Dominique Daguerre, was produced by Weisweiler in several copies in a circular format, the first of which, around 1785, for Count Pavel Martynovich Skavronsky, then Russian Ambassador to Naples, followed by a second which was delivered to Madame du Barry for her apartments at the Château de Versailles. The success of this piece led Weisweiler to continue producing it until the end of the century, in the form of pedestal tables and tables. Around 1790, a belt, sometimes with a writing-table drawer and simpler solid mahogany columns adorned with copper fluting, similar to the one shown here, appeared. Trays, which were generally adorned with Wedgwood plates, could also be decorated with porcelain or Sèvres cookie plates, or simply veneered, or even topped with a marble or lacquer top, like the one in the former Fabre Collection. Bibliography: Weisweiler. Patricia Lemonnier.Editions d'art Monelle Hayot, Paris - 1983 18th-century French furniture. Pierre Kjellberg. Les Éditions de l'Amateur - 2002 Light furniture in France. Pierre Devinoy and Guillaume Janneau. Paul Hartmann, Paris - 1952

Estim. 25 000 - 40 000 EUR

neoclassical russian imperial gueridon, late 18th century Attributed to Christian Meyer In stained hornbeam floral marquetry on a rosewood base, the top decorated in the center with an allegory of a River God in the form of a reclining Old Man amidst jagged foliage scrolls, the maple, lemon and stained hornbeam border with a motif of flowering falls au naturel, the waist opening into a drawer, the sheathed mounts with simulated flutes ending in casters. Marks on the reverse:old printed label inscribed in Cyrillic "Царскосельскаго / Дворцового Правленiя141", and numerous inventory numbers H.:70 cm (27 ½ in.) w.:86 cm (34 in.) P.:62 cm (24 ½ in.) Provenance: Delivered for the Tsarkoye Selo Palace; Most likely sold by order of the Soviet government between the late 20s and early 30s; Swiss private collection since 1935. A Russian Imperial Neoclassical floral marquetry, rosewood, maplewood, and bois citronnier gueridon, late 18th century, attributed to Christian Meyer * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. This elegant coffee table is reminiscent of the excellent work of cabinetmakers working for the Russian aristocracy and imperial family in Saint Petersburg at the end of the 18th century. The superb marquetry of our piece allows us to link it to the work of Christian Meyer, rightly considered the finest cabinetmaker of the period and who worked actively for the imperial court, delivering pieces for the Hermitage as well as for Chateau Michel, Pavlosk and Tsarkoe Selo. Our table is characterized by a structure combining sober neoclassical lines with a very pure decor, the top distinguished by the use of contrasting colored veneers, surrounding a central cartouche. The tabletop's fine marquetry, combining extremely jagged foliate scrolls and strikingly naturalistic floral bouquets, is influenced by the work of the architect Charles Cameron (1745-1812) and the Italian Michelangelo Pergolesi, who were to be a major source of inspiration in Christian Meyer's work. Comparable inlays can be found on a number of tables delivered by Meyer for the imperial court (cfr. N. Guseva, T. Semyonova, Russian Eighteenth Century Furniture in the Hermitage Collection, The State Hermitage Publishers, 2015, p.330-348). It should also be remembered that the decoration on the belt of our table, adorned with a stylized foliage motif marquetry, can be found on a pair of high-backed pieces of furniture designed by Christian Meyer for the Winter Palace and illustrated in N. Guseva, T. Semyonova, Russian Eighteenth Century Furniture in the Hermitage Collection, The State Hermitage Publishers, 2015, p.374-375. The motif of the central painting on the top of our piece is framed by scrolls and ornaments that were very much in vogue in interior decoration and that the architect Cameron would use in many of his designs for Russian imperial palaces (cfr. fig. 1 and fig. 2). As for the central decoration depicting the allegory of a River God, most probably the Tiber or another Italian river, Meyer seems to have been inspired here by the large number of 18th-century engravings illustrating this subject (see figs. 3, 4 and 5). As illustrated by the numerous inventory numbers and the label printed on the underside of our tabletop, it was made for the Tsarkoe Selo Palace, the summer residence of the Russian imperial family, some twenty kilometers from Saint Petersburg. The imperial estate of Tsarkoe Selo comprises the Catherine Palace, built in the mid-18th century for Empress Elisabeth by the Italian architect Francesco Bartolomeo Rastrelli (1700-1771), and the Alexander Palace, a neoclassical residence built between 1792 and 1796; the latter was the preferred residence of the last Tsar Nicholas II, his wife, Tsarina Alexandra, and their children. The printed label, dating from the interwar period, shows that the table was still in Tsarskoye Selo at the beginning of the 20th century. As for its fate after the 1917 revolution, it is very likely that it followed the fate of many other pieces of Russian imperial furniture that left the country between 1928 and 1932 when the Soviet authorities organized mass sales of works of art.

Estim. 6 000 - 8 000 EUR

CONSULATE PERIOD PEDESTAL TABLE Attributed to Bernard Molitor In mahogany and mahogany veneer, top in Ardennes royal gray marble, the shaft in lacquered wood and partly gilded in imitation bronze, resting on blackened wooden claw feet terminating in casters; minor accidents. H. 79 cm (31 in.) D. 98 cm (38 ½ in.) Provenance: By family tradition, Comte François Marie de Bastard d'Estang (1783-1844). Comparative bibliography : U. Leben, Molitor Ebéniste de Louis XVI à Louis XVIII, Éditions d'Art Monelle Hayot, 1992, p. 165, fig. 114. An Consulat parcel-gilt, ebonised and mahogany gueridon, attributed to Bernard Molitor This type of circular monopod pedestal table, which had existed in Antiquity, reappeared in the aftermath of the French Revolution, in an attempt to imitate the simplicity of Antiquity. In particular, the superimposition of geometric motifs, such as the fleuron inscribed in a rhombus or the stylized palmette adorning the three sides of the shaft, were inspired by Pompeii. The unusual design of the shaft brings our example close to the "Table de Déjeûner" model (cf. fig. 1) from the collection by La Mésangère, Paris, 1802, pl. 49(1). A pedestal table of the same design as ours is attributed to Bernard Molitor (cf. fig. 2) by Professor Ulrich Leben in the monograph he dedicated to the work of this cabinetmaker(2) ; in particular, the carved reliefs on the central foot can be compared to the ornamentation on a Molitor-stamped daybed from the former Lefèvre collection(3). A pedestal table similar to ours sold at Christie's Paris on November 29, 2017, lot 149 (see fig. 3). Finally, we should mention the existence of a model with slight variations in the decoration of the shaft; it is preserved at the Musée des Arts Décoratifs in Paris (inv. 36218) and is illustrated in M.N. De Grandy, Le Mobilier Français Directoire Consulat et Empire, Massin, Paris, 1996, p. 64. According to family tradition, this pedestal table was part of the furniture of Count François Marie De Bastard d'Estang (1783-1844). The Count was an advisor to the Imperial Court of Paris in 1810, before becoming President of the Court of Lyon in 1815. In 1819, he was appointed Peer of France, and investigated the trial of Louvel, assassin of the Duc de Berry. (1) P.M. Kenny, F.F. Brettet and U. Leben, Honoré Lannuier, Cabinet Maker from Paris, Harry N. Abrams, New York, 1998, p. 193, pl. 97. (2) U. Leben, Molitor Ébéniste de Louis XVI à Louis XVIII, Éditions d'Art Monelle Hayot, 1992, p. 165, fig. 114. (3) ibid. p. 204 fig. 156 A.

Estim. 1 800 - 2 500 EUR

Louis MAJORELLE (1859-1926 Ecole de Nancy) Art Nouveau triangular pedestal table in precious wood marquetry decorated with daisy flowers. Curved and twisted tripod base linked by a crotch shelf. Signed on the top. Restoration due to use and maintenance. 20th century Dimensions: H: 75; W: 50 cm Louis-Jean-Sylvestre Majorelle, usually known as Louis Majorelle (Toul, September 26, 1859-Nancy, January 15, 1926), was a French cabinetmaker and decorator of the École de Nancy Art Nouveau movement, of which he was also vice-president.

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