Chest of drawers in the style of the Axe

Here are some photos of the restoration of a solid walnut chest of drawers, veneered with thuya burl inlay and Greek key stringing in amaranth and boxwood. The drawers and the interior and back panels are made of fir.

• 

• 

• 

• 

• 

• 

Despite the scalloped shape of the crossbar, its curve and its feet, this chest of drawers is indeed in the transitional style but from the Louis XVI period.

• 

• 

• 

In the title I wrote "in the style of the Hache family" because it's certain that this chest of drawers originates from the Dauphiné region. But whether it's a product of the famous Hache family of cabinetmakers is only my opinion.

The elements in favor of an attribution are: the very characteristic dovetail mounting system for the facade crossbeams, the disc foot, the elongation of the corbel, the choice of woods (walnut, thuya burl, fir) are to be compared with the production of the Haches.

• 

• 

• 

• 

• 

But some elements do not fit with the usual criteria for attribution: The disc foot is a little heavy and the shapes are uncommon for the production of axes, the drawer bottoms (which have been restored previously) and finally the absence of a stamp with only a trace of a label on the back.

• 

• 

• 

• 

So what can we say about this chest of drawers? If we allow ourselves to speculate and hypothesize about its origin, based on the fact that it dates from the late 18th century and is characteristic of work from the Grenoble region, we could imagine it was made by a craftsman who knew the Hache family, or even apprenticed with these cabinetmakers. Perhaps it was a subcontracted piece commissioned by Christophe-André Hache, the last son of the family to run the business until May 13, 1801.

Or it could simply be a copy made by another cabinetmaker in the region.

Another, more ambitious hypothesis is that this chest of drawers was made by Christophe-André himself. Completely overshadowed by the talent of his elder brother, Jean-François, very few pieces of furniture by him exist, and virtually no studies exist on the work of this cabinetmaker.

It shouldn't be assumed that great cabinetmakers only crafted prestigious furniture; they also produced simpler, easier, and quicker pieces. Their work catered to all types of customers. It's often forgotten that these cabinetmakers were simply artisans and business owners who had to make their work profitable to pay their employees and taxes.

As for the restoration, it was simple. A few grafts of solid walnut, the re-gluing by infiltration of the veneers, the making of a key, the stripping of the very yellow varnish, the cleaning of the bronzes and finally a colorless French polish.

• 

• 

• 

• 

• 

• 

• 

• 

•