Restoration of a Louis XVI period chiffonier table in mahogany veneer and solid mahogany on oak and softwood frames, stamped by Jean-Baptiste VASSOU (1739-1807). A very finely crafted piece with beautiful veneer and a beautiful Turquin blue marble.
What is a chiffonnier table?
The first mention of a "chiffonnière table" appears in the journal of the haberdasher Lazare Duvaux (1703-1758) in 1755. Then, in 1763, Jean-François Oeben's post-December inventory mentions a "chiffonnière frame made of alder wood." Thus, from the second half of the 18th century onward, the model became common and is described in Roubo's dictionary as follows: "Chiffonnières are a type of small chest of drawers used by ladies when they are working, either sewing or embroidering. These tables have two or three drawers in the front, or..." "It's better to place it along the side of the table so as not to inconvenience those using it."»
Jean-Baptiste VASSOU
Born in 1739, he obtained his master craftsman's certificate on January 28, 1767, in Paris and initially established himself on rue Saint-Nicolas under the sign of "La tête noire" (The Black Head), then, from 1799, on rue du Faubourg Saint-Antoine. He worked primarily for merchants, to whom he supplied quality furniture that allowed him to prosper even during the Revolution, during which he bought several houses.
His youngest son, Jean-Louis, succeeded him before handing over his workshop to his son-in-law.
State of affairs report
Besides the discoloration of the varnish which highlights old restorations such as makeup and tints, the biggest problem on this piece of furniture is the missing front part of the lower shelf which has been chewed by a dog.
The Restoration
Imagine my surprise when, while removing the old varnish, I discovered magnificent mahogany veneers that had been disguised during a previous restoration. Strange, what was my predecessor trying to do? Perhaps he thought it was a sign of wear? Or perhaps he simply didn't like the natural movement in the wood? Curious, but fortunately, beneath the layers of paint and fuchsin, the veneer was completely intact, without any alteration.
The main challenge was therefore recreating the missing lower shelf. Fortunately, I had a piece of mahogany in stock that perfectly matched the existing veneer. For the front trim, I used the gallery's curve as a guide to recreate it.
A light, colorless varnish was applied with a pad. The bronzes were simply cleaned with a microfiber cloth.
