Restoration of a Transition period rag chest, stamped Guillaume Cordié and bearing the hallmark of the guild. It is veneered with rosewood and amaranth, on a frame of oak and softwood. However, its bronze fittings were added later.
Guillaume Cordié
Born around 1725, Guillaume Cordié initially worked as a freelance craftsman before receiving his master's certificate on June 18, 1766. He then established himself on the rue de Charonne, where he remained until his death. His works, of fine quality and harmonious proportions, are primarily in the Transition and Louis XV styles. He also appears to have worked extensively for haberdashers and fellow craftsmen such as Migeon and Boudin.
He is notably responsible for a stepped desk in the Mobilier National collection, which reveals a true talent for interior design. Furthermore, his small "kidney-shaped" table, from the former Clermont-Tonnerre collection, is not of a commonplace design. Even more original is the reading table from the former Blanchette collection. It rested on two carved legs, placed opposite each other beneath its ellipsoidal top surrounded by a gallery. It also featured two cavities covered by a shutter. Finally, Cordié undoubtedly enjoyed a good reputation among his peers. Indeed, a beautiful lady's writing desk from the Clermont-Tonnerre collection bore both his stamp and that of Léonard Boudin. A replica was also in the Mirecourt collection.
After his death in 1785, his widow, Marie-Madeleine Courtois, kept the same workshop until the Revolution. Then she retired from business and died on the Quai des Célestins on June 18, 1800, in her seventieth year.
Bibliography
- French Furniture of the 18th Century – Pierre Kjellberg – Les Editions de l'Amateur – 1989
- The workshops Parisian cabinetmakers and joiners in the 17th and 18th centuries – Guillaume Janneau – Serg Editions – 1975
State of affairs report
Overall, the frame appeared to be in good condition. However, upon closer inspection, we found that almost all the veneer was peeling off. In fact, simply sliding a blade underneath was enough to lift it. Furthermore, some of the amaranth veneer was missing from the sides. Finally, three-quarters of the amaranth veneer was missing from the front crossbeams.
The Restoration
Since the frame showed no significant damage, removing the veneer was unnecessary. We therefore rehydrated the old glue with a penetrating adhesive. Then, we pressed both sides and the drawer fronts together, applying a slight amount of heat. However, we completely re-glued the front panel using hot glue. Next, sawn, scraped, and sanded veneer was used to fill the gaps. We cut it to the correct thickness as a backing before gluing it in place.
Then we adjusted the drawers one by one, which took a little while (there are twelve of them, after all!). We also restored the locks to working order, complete with their keys. Finally, we oxidized the veneer grafts and applied a clear varnish with a pad.
