Extensive restoration for this superb period tomb-shaped commode Louis XV Stamped on the four uprights by Jean-Baptiste Hedouin. The frame and drawers are made of solid oak, fir, and walnut. It is veneered with satinwood for the frieze edges and with geometric marquetry in violet wood. Two types of violet wood are used: one with a very tight grain and veining for the lozenges, the other more intricate for the edges, uprights, and rails. The gray Ardennes marble is molded and shaped to match the contours of the commode.
You will find the biography of this cabinetmaker in the articles on the restoration of a slant-front desk, which follow below:
One single element is enough to date this chest of drawers without a doubt: the crowned C, present on all the bronze mounts except the lamp base, which is missing. Furthermore, the chest shows no signs of major restoration, apart from the rosewood veneer on the lower legs. As for the bronze mounts, they have never been removed, or they have always been replaced exactly in their original positions: there are no other traces of nails. They are therefore indeed the original bronze mounts.
The Crowned C
It was an edict of 1745 that required bronze workers to mark their pieces with a small distinctive letter, a C surmounted by a crown, thus subjecting them to a tax. This tax applied to both objects and furniture adorned with it.
This is a mark sanctioning a tax paid on bronzes and coppers between 1745 and 1749. Like any tax, it was widely unpopular, and countless lawsuits pitted artisans against state agents. Yet the edict of February 1745 was unequivocal: it applied to "all works old and new, of bronze, pure copper, cast iron, mixed copper, forged, ground, hammered, planed, engraved, gilded, silvered, and colored, without exception.» This detail is significant: we are in the era of the War of the Austrian Succession, and military needs were pressing. In February 1749, the Peace of Aix-la-Chapelle was signed, and some prominent figures noted the «abolition of minor new taxes.».
But in the meantime, the hallmark must appear on all copper-based metalwork made or sold during these four years. The text also specifies that it applies to "all works, old or new." It is therefore possible to find it on pieces predating 1745. This simply requires that the object be re-gilded or enter the market during these four years. This is the case with certain pieces of furniture by André-Charles Boulle, from the Louis XIV period, whose popularity continued. It is therefore possible to find it on a work predating 1745—though this is rare—while it will be absent from a more recent bronze, unless it is a forgery. Even if we limit ourselves to Louis XV bronzes, it is difficult to count them, as the crowned C seems to have permeated furniture bronzes and decorative objects both in Paris and in the provinces during these four years. We know how much such objects were prized at the time and the success that bronze workers enjoyed.
A quick check with a period King's Foot. It fits, the crossbars form a line and all the dimensions correspond well to this unit of measurement.
Every piece of furniture has its share of mystery, an incomprehensible element that perhaps conceals a secret. Why these chisel marks on the upper rail? To erase an inscription? Its origin? Was there another stamp? A mystery…
State of affairs report
Let's now turn to the restoration. First, the front: the crossbeams have many missing veneers. The drawers are in fairly good condition, despite some losses. The molding between the lower crossbeam and the right leg is gone. The veneer on the uprights is completely peeling off: simply lifting it will prove very useful later.
The most significant damage is to the sides. Both are split in several places, about 7 mm wide, with a visible crack on each side. Pieces of veneer are missing, and there are holes along the cracks. The entire structure is completely detached; the chest of drawers is held together almost entirely by its veneer.
The Restoration
Given the condition of the marquetry on the sides, the choice of restoration method is fairly straightforward. The veneer will have to be completely removed. This is a very complex operation, so this solution should not be considered lightly.
A word of caution. Removing an entire marquetry panel requires great care and expertise. It demands meticulous attention to detail to avoid damaging the piece and preserve its authenticity. In the wrong hands, the operation can quickly turn into a disaster. And I repeat: removal is not always the best option., It must be carefully considered and is essential for the furniture's durability over time in order to guarantee its longevity.
So, to begin, I completely disassembled the chest of drawers. Each piece is carefully marked and labeled so that it can be put back exactly in its place. To remove the front panel, I had to peel back the veneer from the uprights at the level of the dowels, in order to remove them.
I then removed the marquetry from the sides. I glued it onto a stretched support to restore it, filling the gaps with veneer that I scraped, sanded, and cut to the correct thickness. The vertical veneer strips on both sides were too damaged: I replaced them with new kingwood, which I sawn, scraped, sanded, and cut to the correct thickness. Finally, I raised the wood to create a perfectly smooth surface.
As for the structure, it was completely dismantled and then reassembled, filling the gaps in material with wood of the same species.
Next, after pushing back the facing, the veneers were re-glued with hot glue under vacuum, taking care not to exceed 60 degrees. Beyond that point, the proteins contained in the glue degrade and it loses its adhesive power. After a weekend of drying, I removed the film that held the marquetry in place. The bonding was successful: the surface is perfectly smooth, which guarantees the complete preservation of the patina (no sanding required).
The veneer on the crossbeams and uprights was re-glued using traditional methods with hot glue and shims. The marquetry on the drawers was re-mounted under vacuum with glue infiltration.
Once all the veneered surfaces had been restored, I re-glued the front and back panels with fish glue, and the back was pegged with its original pegs. Then I re-glued the veneers on the uprights at the joints.
Then came the finishing stage. After lightly sanding with fine-grit sandpaper (400), I filled the gaps with pumice. Next came the oxidation of the new veneers. Finally, I applied a clear varnish with a French polish. All of this was done over a period of a month, allowing ample drying time between each step.
I made a new key, perfectly suited to the original locks, as the old one had disappeared. I then cleaned the bronze fittings with Panama wood. The apron, which had been added, didn't have the same gilding, so I regilded it with gold leaf, and while I was at it, I also touched up the few areas where the gilding on the original bronze fittings was missing. Finally, I put them back in their original positions, filling the gaps with matchsticks.
To see previous restorations : https://ebenisterie-mathieuvath.fr/en-ce-moment-a-latelier/
Magnificent work, congratulations! I have a question regarding the bronzes: what treatment do you use to restore them to their original condition? Thank you.
There's no magic bullet: water, soap, a drop of white vinegar, a soft-bristled, non-scratching brush, and above all, plenty of elbow grease. Then a quick wipe with a chamois cloth. And every now and then, a partial re-gilding with gold leaf to fill in any gaps.