Here is a restoration carried out earlier this year by Raphaël. A long but successful undertaking. I had the opportunity to revisit this desk recently, and it has responded perfectly to the significant variations in temperature and humidity. The remainder of this restoration report was written by Raphaël.
A "Mazarin" office«
This Louis XIV desk is covered in Boulle marquetry, composed of brass on a red tortoiseshell ground. The case is supported by eight console legs, joined in groups of four by an X-shaped stretcher. The front features seven drawers: six on either side in two compartments, and a seventh, wider drawer in the center, beneath which is a recessed niche with a drop-front. All the solid parts are made of fir, the bronze mounts on the base are gilt, and the top is edged with a molding.
The tray features a rich arabesque decoration inspired by the works of Jean I Berain. At its center, a trio of euphoric figures is surrounded by vases, chimeras, and animals. The decorations on either side of the tray, although from separate sets, complement each other harmoniously. They display a complex interlacing of chimeras, arabesques, scrolling foliage, and floral motifs, all set against a tortoiseshell background.
The sides feature a central scene of two children playing on a seesaw, above which hangs a chandelier. The whole is framed by scrolling foliage and floral motifs, as well as a few animals. The drawers are decorated with figures holding a cup and a jar, accompanied by draperies, scrolling foliage, and floral motifs. In the center of the drop-front, a figure dances surrounded by musical monkeys, birds, and rabbits.
The feet, uprights and stretchers are simply covered with scrolls and finials.
Jean Bérain father (1640-1711)
The son and grandson of Lorraine arquebusiers, Jean Bérain grew up in Paris, where his family had settled to escape the horrors of the Thirty Years' War. He learned drawing and engraving within his family and studied under Charles Le Brun. He did not attend the Royal Academy of Painting and Sculpture, nor did he travel to Italy. He gained some renown as a theatrical organizer, attached to the administration of the Menus Plaisirs (the royal entertainment service). In 1674, he was appointed to the court of Louis XIV as designer of the King's Chamber and Cabinet. He designed costumes and theatrical sets, and conceived stage machinery. Through this work, he associated with a wealthy clientele who commissioned him to create permanent interior decorations. He provided designs for ceilings, paneling, fireplaces, furniture, and tapestries, and occasionally organized funeral ceremonies. He died at the age of 72 in his apartment in the Louvre galleries and was buried in the church of Saint-Germain-l'Auxerrois. His son, Jean Bérain, continued his work.
THE BERAIN STYLE
This style is characterized by the use of the grotesque theme, dear to the 16th century and the School of Fontainebleau, treated in a highly personal manner, and by a pronounced taste for grand classical architecture. The compositions are always centered, framed by fanciful porticoes or lambrequins, symmetrically adorned with volutes, and populated with small fantastical figures or allegorical characters. The artist uses watercolor, and his drawings display great delicacy of line. His arabesque compositions, always balanced, foreshadow the even lighter arabesque of Claude Audran and that of Watteau.
State of affairs report
The first sign of damage was caused by a polyurethane varnish. Blisters of varnish appeared diffusely on the tabletop, but only in that specific area. Furthermore, the surface was distorted by variations in the thickness of the brass fittings. Removing this layer of varnish revealed that this unevenness was due to the use of modern cyanoacrylate adhesives. However, this type of adhesive is not recommended for restoration because it is irreversible. The varnish also had the added effect of preventing the piece from breathing, which led to a significant portion of the brass fittings detaching.
The cabinet and drawers are coated with a thinner layer of varnish. Some brass parts are loose, and there are cracks in the center of each side. The legs are in good condition, despite some minor imperfections. The braces also show some loose brass.
On a structural level, the base is partially detached from the body, one of the feet already being detached upon arrival at the workshop.
The Restoration
The majority of the work therefore consisted of removing the polyurethane varnish. This was done with a scalpel by two people (thank you, Paul). Once this step was completed, we were able to restore the piece of furniture in the usual way. The marquetry was rehydrated by vacuum-sealing the drawers and the top, which had been removed. This operation was carried out using shaped blocks for the front rails and sides. Approximately 80 pieces of the brass from the top were removed. The residues of vinyl glue and cyanoacrylate glue were removed to ensure good adhesion to the brass. These pieces were then reattached using hot ichthammol glue. Finally, a shellac finish was applied with a pad.
