One desk, one stamp, three cabinetmakers?
This desk is a masterpiece of French cabinetmaking. It alone embodies the culmination of 18th-century neoclassical taste. Yet, a question immediately arises: why three cabinetmakers for a single desk? In fact, the answer lies in a mixture of succession, talent, collaboration, and opportunism, typical of the craftsmanship of the period.
This flat desk, known as a "Greek-style" desk, is a perfect example of the Louis XVI style. It combines marquetry of amaranth, satinwood, and kingwood with light wood stringing. It opens with three drawers in the frieze, one of which is secret. Furthermore, Greek-style friezes, punctuated by swirling gilt-bronze rosettes, adorn it with refinement. A gilt-bronze molding frames its leather-covered top.
It rests on four tapered legs, adorned with laurel wreaths made of well rope and ending in bronze sabots. Two side pull-out handles add a practical touch. It is therefore a very simple piece, whose geometry evokes Antiquity and travels in Italy. Finally, it bears the stamp of Jacques Dubois.
Jacques Dubois
Born in Pontoise around 1693, Jacques Dubois was among the greatest Parisian cabinetmakers of the reign of Louis XV. Having worked for many years as a journeyman in the Faubourg Saint-Antoine, he became a master in 1742 at the age of forty-nine. He then enjoyed a brilliant career for nearly twenty years on the rue de Charenton, working for the high nobility. In 1752, he became a sworn member of the guild, responsible for judging the quality of his fellow craftsmen's furniture.
In 1763, he was tasked with appraising the estate of Jean-François Oeben. Then, after his own death a few months later, an inventory of his works was drawn up. His son René then took over the workshop on rue de Charenton. He continued his father's work for about twenty years and also enjoyed an excellent reputation.
This desk therefore bears the stamp of Jacques Dubois. However, it is not by his hand. Indeed, similar desks all date from 1765 to 1770, while Jacques Dubois had been dead for at least three years. His son René took over the business, while retaining his father's stamp.
René Dubois
(1737-1799) Joiner-cabinetmaker in Paris. Master on June 25, 1755, then cabinetmaker to the queen in 1779. He signs his works with the old father's hallmark, I.DUBOIS.
The son and pupil of Jacques Dubois, René took over his father's workshop on rue de Charenton in 1763, in partnership with his mother. Although he became a master craftsman at a very young age, he continued to use his father's stamp. In 1779, "L'Almanach général des marchands" (The General Almanac of Merchants) listed him as cabinetmaker to the Queen. His production remained substantial until 1780. That year, he purchased a shop on rue Montmartre, dedicated to selling furniture. Finally, he ceased operations at the beginning of the Revolution.
René Dubois, cabinetmaker, Flat desk, Paris, circa 1775 – © Les Arts Décoratifs / photo: Jean Tholance
However, disturbingly, this office bearing the Dubois stamp replicates in every respect the structure of three offices executed by Philippe-Claude Montigny.
Philippe-Claude Montigny
Having become a master craftsman in 1766, Montigny was one of the principal artisans behind this creation. Working near the Bastille in his father's workshops, he crafted these exceptional desks, often in collaboration with his cousin René Dubois. Indeed, this model is sometimes found stamped with the Montigny mark, sometimes with the Dubois mark, clearly demonstrating the collaboration between the two masters. Together, they frequently produced desks for major collectors and dealers, such as Simon-Philippe Poirier.
It is therefore not surprising that the same piece is the work of several hands. Montigny, a master of Neoclassicism and fine bronzes, is undoubtedly its principal creator. However, René Dubois also contributed to this piece. As for Poirier, the renowned merchant-mercer, he may have been involved in the commission and sale. For example, the desk delivered in 1765 to the Earl of Coventry closely resembles this one.
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
- French Cabinetmakers from Louis XIV to the Revolution – Editions du Chêne – 1989 – Alexandre Pradere
State of affairs report
The structure appeared sound: no play in the joints, and both the drawers and pull-outs functioned well. There were a few small areas where the veneer was missing. However, the main damage lay elsewhere. First, the piece and its bronze mounts were heavily soiled. Second, almost all the applied plaques were detached; only the screws and nails holding the bronze mounts in place. Most importantly, the top had been altered! A previous restoration had veneered it with a frieze of marbled mahogany, which detracted from its original appearance.
The Restoration
First, we removed and marked all the bronze pieces. Then, a large number of the plaques were reattached using fish glue. Next came the re-gluing and veneer restorations, using hot glue. After that, we removed the leather and mahogany veneer from the tabletop. Finally, coniferous wood filled the gaps left by the removal of the tabletop planks.
Since the repairs and grafts showed no unevenness, a solvent gel was able to remove the shellac finish. We then applied a wax polish, closer to the original.
Next, the bronze pieces were cleaned ultrasonically and returned to their original positions. In addition, antique leather, restored and patinated, now covers the tabletop. Finally, a new square key (a watchmaker's key) was fitted to the locks.
In short, this restoration has stabilized, restored, cleaned and harmonized this testament to a collaboration between several avant-garde masters.
