Antique Victorian Walnut Inlaid Bonheur Du Jour, circa 1860

View Similar Items

19th Century Walnut Inlaid Bonheur du Jour

19th Century Victorian Amboyna Inlaid Bonheur Du Jour

Antique Bonheur Du Jour, French, Walnut, Ladies Writing Desk, Victorian, C.1900

French Kingwood Bonheur du Jour, circa 1890

Superb Antique English Inlaid Mahog. Secretaire a' Abbatant or Bonheur du Jour

Exquisite Antique English Marquetry Inlaid Mahog. Adam style Bonheur du Jour

George III Satinwood Bonheur du Jour

Antique French Marquetry Bonheur du Jour 19th Century

Antique French Gilt Bronze and Mahogany Bonheur du Jour

19th Century French Bonheur Du Jour

Antique French circa 1870 Bonheur Du Jour Hardwood Marble Desk Bureau Faux Books

Bonheur Du Jour Cylinder Desk Louis XVI Style

Want more images or videos?

Request additional images or videos from the seller

1 of 11

Antique Victorian Walnut Inlaid Bonheur Du Jour, circa 1860

About the Item

This is a beautiful antique Victorian burr walnut and inlaid Bonheur Du Jour, or Ladies writing desk, circa 1860 in date. The gorgeous grain and color of the walnut, the fabulous inlay and the exquisite ormolu mounts ensure that this bureau de dame will get noticed wherever it is placed. The fall front opens to reveal a rosewood interior with a bank of three drawers and a slide that allows you to access the hidden space below. The top has a pair of cupboards with glazed doors, ideal to display your ornaments and they flank a small drawer and a mirror. The bureau stands on beautiful cabriole legs. This is a lovely piece which is sure to enhance any interior. Condition: In excellent condition having been beautifully restored in our workshops, please see photos for confirmation. Dimensions in cm: Height 141 x width 87 x depth 54. Dimensions in inches: Height 4 feet, 7 inches x width 2 feet, 10 inches x depth 1 foot, 9 inches. A bonheur du jour (in French, bonheur-du-jour, meaning "daytime delight") is a type of lady's writing desk. It was introduced in Paris by one of the interior decorators and purveyors of fashionable novelties called marchands-merciers circa 1760 and speedily became intensely fashionable. The bonheur du jour is always very light and graceful, with a decorated back, since it often did not Stand against the wall but was moved about the room. Its special characteristic is a raised back, which may form a little cabinet or a nest of drawers, or open shelves, which might be closed with atambour may simply be fitted with a mirror. The top, often surrounded with a chased and gilded bronze gallery, serves for placing small ornaments. Beneath the writing surface there is usually a single drawer, often neatly fitted for toiletries or writing supplies. Early examples were raised on slender cabriole legs; under the influence of Neoclassicism, examples made after about 1775 had straight, tapering legs. The marchand-mercier Simon-Philippe Poirierhad had the idea of mounting bonheurs du jour with specially-made plaques of Sèvres porcelainthat that he commissioned and for which he had a monopoly; the earliest Sèvres-mounted bonheur du jours are datable from the marks under their plaques to 1766-1767. The choicer examples of the time are inlaid with marquetry or panels of Oriental lacquer, banded with exotic woods, with gilt bronze mounts. By the mid-1770s the bonheur du jour was being made in London, where it was simply called a "lady's writing-desk". Walnut The Walnut woods are probably the most recognisable and popular of all the exotic woods, having been used in furniture making for many centuries. Walnut veneer was highly priced and the cost would reflect the ‘fanciness’ of the veneer – the more decorative, then the more expensive and desirable. Figured Walnut and Burr Walnut (often referred to as Burl Walnut) were considered as the most attractive varieties of Walnut. Burr Walnut veneer was taken from the specific part of the tree where ‘growths’ sprouting smaller branches and/ or roots would occur. As these ‘growth’ areas were limited in both occurrence and size, larger veneers were hard to source and often on bigger furniture (tables, desks, bureaus, cabinets etc), these veneers would have to be carefully joined by matching up the pieces or blending them together. Ormolu (from French 'or moulu', signifying ground or pounded gold) is an 18th century English term for applying finely ground, high-carat gold in a mercury amalgam to an object of bronze. The mercury is driven off in a kiln leaving behind a gold-coloured veneer known as 'gilt bronze'. The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of nitrate of mercury is applied to a piece of copper, brass, or bronze, followed by the application of an amalgam of gold and mercury. The item was then exposed to extreme heat until the mercury burned off and the gold remained, adhered to the metal object. No true ormolu was produced in France after around 1830 because legislation had outlawed the use of mercury. Therefore, other techniques were used instead but nothing surpasses the original mercury-firing ormolu method for sheer beauty and richness of colour. Electroplating is the most common modern technique. Ormolu techniques are essentially the same as those used on silver, to produce silver-gilt (also known as vermeil).

Dimensions:
Height: 55.52 in (141 cm)Width: 34.26 in (87 cm)Depth: 21.26 in (54 cm)
Place of Origin:
England
Period:
1860-1869
Date of Manufacture:
circa 1860
Condition:
Seller Location:
London, GB
Reference Number:
Seller: 069501stDibs: LU95064137183