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Louis XVI Style Commode, After The Model By Joseph and Guillaume Benneman
About the Item
A Louis XVI Style Gilt-Bronze Mounted Mahogany Commode, After The Model By Joseph Stöckel and Guillaume Benneman.
Decorated overall with berried scrolling foliage, the eared rectangular white marble top above egg-and-dart moulding and three frieze drawers centred by a lion mask, over a pair of panelled doors centred by a roundel cast in relief with a Satyress and Cupid. The interior is fitted with six drawers flanked with loop handles. The front corners with fluted columnar uprights with stiff-leaf acanthus capitals. The sides have corresponding roundels of woodland nymphs and bacchic putti. On tapering frond-cast legs and pine cone feet.
This magnificent commode is a fine 19th century example of a very famous model of which a pair were made by Guillaume Benneman, adapted from a design by Joseph Stöckel, and supplied to Queen Marie-Antoinette in 1786. Guillaume Benneman was one of Marie-Antoinette’s preferred makers. He created splendid furniture during the final years of the Ancien Régime for the Château de Versailles, the Palais des Tuileries and the Château Saint-Cloud for prestigious clients including Louis XVI, Marie-Antoinette and the comte de Provence. The pair of commodes he created for Marie-Antoinette, the inspiration for the present example, was part of a series of eight which were ultimately transformed through a complex and costly process from a group of four begun by Joseph Stöckel. The pair at Fontainebleau were originally destined for Marie-Antoinette’s bedroom at the Château de Compiègne, and later placed in her salon des jeux at the Château de Fontainebleau, a splendid room of superlative neo-classical design with wall panels painted with delicate arabesques. The pair at Fontainebleau have jasperware roundels to the front and Sèvres floral plaques to the sides.
France, Circa 1880.
- Similar to:Benneman and Stockel (Cabinetmaker)
- Dimensions:Height: 38.59 in (98 cm)Width: 70.87 in (180 cm)Depth: 29.93 in (76 cm)
- Style:Louis XVI (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:Circa 1880
- Condition:Wear consistent with age and use.
- Seller Location:Brighton, GB
- Reference Number:Seller: B765841stDibs: LU1028038396872
About the Seller
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French, circa 1910.
Linke index number: 1127.
Linke title: 'Commode Louis XVI, Bois d'amarante et de rose.'
Signed ‘Linke’ to the right-hand side chute.
This distinguished commode is quarter veneered in mahogany with bois de violette banding and boxwood stringing. It is furnished with finely cast gilt-bronze mounts and surmounted by a brèche violette marble top.
It appears that Linke bought the rights to make this commode from the Vente Cueunières in 1902, although there is no trace of it being made by him until the summer of 1908 and there is no entry in the Blue Daybooks for this model. The green registres have two pages devoted to the making of the commodes, the first at a cost of 1,540 and 40 centimes, with eight more made in the intervening years, the last, a pair, in 1927 with the cost price escalating to 8,529 francs. The registre is not entirely clear, but it appears that Clément Linke, father and son, made the locks for this model. The cabinetmaking was exclusively by Guntren who took 496 hours per commode, paid 85 centimes in 1908 rising to 5 francs 75 cents for the last pair. Linke priced this commode at 3,000 French francs, noting in his book 'original est de Leleu est à Trianon.'
The original commode by Leleu, on loan from the Petit Trianon, is shown in a line engraving in the retrospective part of the Exposition de l' Union Centrale des Arts Décoratifs, Paris, 1882, De Champeau & Others, 'Les arts du bois,' pub. Quantin, 1883, p. 80. The commode entered the Petit Trianon in 1867 on the occasion of an earlier exhibition dedicated to the memory of Marie-Antoinette, organised under the patronage of the Empress Eugénie.
Jean-François Leleu
A pupil and later collaborator with Jean-François Oeben, Jean-François Leleu became maître on the latter’s death in 1763. His work can be divided into two concurrent but distinct styles: the first owing more to the legacy of Oeben, being of large, solid forms, more noble in style; the second, although retaining the clean, definite lines of the first, being an exercise in elegance and understatement. It is this second style for which Leleu is chiefly remembered and which the present commode, with its lightly bombé form and restrained frieze mounts, is a principal example.
Literature:
Payne, Christopher. François Linke, 1855-1946, The Belle Epoque of French Furniture, (woodbridge, UK), 2003; p. 502, for the black and white cliché of index number 1127
Meyer, Jonathan. Great Exhibitions, Antique Collectors club, (Woodbridge, UK), 2006; p. 298 - 300.
Pradère, Alexandre. French Furniture Makers; p. 340, fig. 398; and P.
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Literature:
Exposition de l' Union centrale des arts décoratifs, (Paris), 1882.
De Champeau & Others. Les arts du bois, pub. Quantin, 1883; p. 80.
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