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Louis XV period secretary stamped Coulon.
Beautiful secretary in cupboard, squat proportion, it is quite wide and has a low height, it opens in front by 2 doors in the lower part surmounted by a flap and ends in a drawer,
The cabinet body rests on small curved legs joined together by a plinth with a scalloped cutout, slightly projecting from the cabinet and softened by a chamfer forming a base.
The front uprights of the secretary are rounded and elegant with a large chamfer, the top of the cabinet is finished with an ogee which receives a beautiful rancid Belgian marble molded with a corbin beak and a leave. This marble seems to be the original one.
The cabinet doors are positioned flush with the uprights and cross members, offering a beautiful unity to the whole,
Once the 2 doors open, discover a molded oak shelf resting on 2 small cleats, the flap reveals a large black leather gilded with iron on its reverse as well as a beautiful paper greenhouse made up of 6 small drawers with sinuous fronts veneered with violet wood as well as compartments formed by thin shelves and scalloped partitions, pleasantly veneered crosswise with violet wood. The ogee-shaped drawers open over the entire width, we note the care taken with the edge of the facade which is veneered askew like the edges of the flaps and the doors.
The cabinetmaker has composed are built of different woods, the whole is carefully assembled and corresponds to a quality Parisian manufacture, we find mainly beech, oak and walnut for the uprights and rails, fir for the panels and elm for the frame of the theater drawers.
For the front and sides of the cabinet, the cabinetmaker has selected a purple wood cut obliquely also called "sausage" cutting, it is a sawing obliquely of the grain of the wood, "including the 17th century made the happy attempt, renewed by Gauderaux who was not without influencing the cabinetmakers. They took it into their heads, around 1740, to cut their veneer sheets into long isosceles triangles, which adjusted in rosettes form the so-called wing decoration butterfly. " In order to offer us this beautiful decor, composed of large butterfly wing patterns, forming panels inscribed in slightly contoured frames, the craftsman knew how to play perfectly with the grain of the wood to create his most successful curling, he chose a refined, smooth work, highlighting the beauty of the veining of the veneer, this wood called violet wood in the 18th century is a variety of Rosewood, it was named Kingwood in the 17th and 18th century by the Anglo-Saxons because it was reserved to the noble and to the aristocracy, "the stocks of veneers valued during the inventories after the death of the Parisian cabinetmakers are an excellent scale of the respective prices of exotic woods. Until the 1740s, rosewood did not appear in the stocks of The most valuable wood is then violet wood, prized at around 20 sols per pound, or double the price of satin (12 sols) or Cayenne wood (10 sols at Coulon, 5 sols at Mondon) The pal issander and cedar are around 5 sols per pound, amaranth 4 sols per pound. "
Voluntarily the cabinet is only provided with the minimum of bronze, there are 4 small locks with rococo pattern, these are the original locks, there was no other bronze on the outside of the cabinet, the small drawers in the theater are fitted with their period bronze button and rosettes, the top drawer is fitted with its period iron lock just like the low door, the flap is still fitted with its 3 point lock he era that works with its key, the lower left door is equipped with its 2 iron bolts.
This piece of furniture is therefore complete and does not present any transformations, it bears the Coulon stamp on the top right flare, this stamp corresponding to that of 3 merchant cabinetmaker brothers in the 18th century, this strike without initial does not allow to determine which the 3 brothers it is, we therefore count:
Coulon Balthazar obtained his master's degree before 1740 and ended his activity in the early 1770s,
Coulon Gaspard, also obtained his master's degree before 1740 and worked until 1767. He died in 1775
Coulon Jean François, obtained his master's degree on January 17, 1732, he took over from his brother Gaspard in 1767 and filed for bankruptcy in 1774,
This type of secretary in an ogee cabinet seems to appear in the 1750s and to be fashionable in those same years, the construction of the furniture and its most meticulous finish correspond to quality work from the middle of the 18th century.
The Coulon stamp does not necessarily mean that this piece of furniture came out of one of the brothers' workshops, being merchants, they also traded furniture from renowned colleagues such as: Jacques Bircklé, Nicolas Jean Marchand, Philippe Claude Montigny, we also note that Charles Chevallier is the son-in-law of Gaspard Coulon and that we find several pieces of furniture bearing the double stamp.
The Coulons seem to have enjoyed a great reputation, "Gaspard Coulon whose diary book reveals orders for various pieces of furniture: secretaries, pedestal tables, storage compartments, etc. for the Duke of Chevreuse, the Duke of Villeroy, the Princess of Conti, the prince of Condé at Chantilly, the duke of Bouillon, the countess of Montmorency and for several merchants, "
If this form of secretary was made by several good cabinetmakers including quite similar models at Leonard Boudin who was also a merchant, it is rarer to find them covered only in violet wood, very often they are dressed with wooden nets. clear cutting the panels or with a combination of light and dark wood such as rosewood, amaranth marrying with rosewood panels
The set is in perfect condition, the buffer varnish has been reloaded in the traditional way,
- French furniture from the 18th century, Pierre Kjellberg.
-Charles Cressent by Alexandre Pradère
-The cabinetry cabinet by Guillaume Janneau.
Depth: 37 cm
|Style||Louis XV, Transition|
|Materials||Bois de violette|
|Shipping Time||Ready to ship in 2-3 Business Days|
|Location||89260, La chapelle sur oreuse, France|