Restoration of a Regency-style cabinet, likely from the 1740s, stamped Pierre IV Migeon. It can also be used as a bookcase. Its frame is made of oak and softwood. It is entirely veneered with kingwood, rosewood on the top, and walnut on the interior. The doors feature butterfly-wing friezes. In contrast, the sides display a square pattern, typical of Migeon. A semi-circular brass molding borders the ogee cornice. Finally, brass fluting, ending in discs, adorns the uprights.
This piece of furniture is not unique: we found the same model in a bookcase.
Pierre IV Migeon (1696-1758)
The name Migeon refers to a line of Parisian cabinetmakers from the 17th and 18th centuries. However, several generations bore the first name Pierre. This results in some confusion regarding the attribution of their works.
- Pierre I Migeon (circa 1620 – after 1680): master chair maker, he laid the foundations of the family's craft activity.
- Pierre II Migeon (circa 1650 – active at the end of the 17th century): he continued the trade in chair making.
- Pierre III Migeon (1661-1722): he expanded the family business and moved closer to the cabinetmaking trade.
- Pierre IV Migeon (1696-1758): the most famous, a Parisian cabinetmaker of great renown.
- Pierre V Migeon (1723- after 1775): son of Pierre IV, he took over the workshop and perpetuated the father's style.
Born in 1696, Pierre IV Migeon learned the trade very early from his father, Pierre III. He became master cabinetmaker in 1729 and then opened his workshop on rue de Charenton. Very quickly, the business grew and employed several journeymen and workers.
A workshop serving major clients
Some of his colleagues worked exclusively for the high aristocracy. Migeon, on the other hand, developed a versatile workshop. He thus served a bourgeois, aristocratic, and even royal clientele. Among his clients were the Duke of Orléans, the Duchess of Rohan, the Duchess of Épernon, and Marshal de Noailles. Several bishops and ambassadors were also among his clients, as well as the Marquise de Pompadour, favorite of Louis XV and great patron of the arts. This privileged relationship clearly demonstrates her reputation and her place in the circles of power.
Migeon is a cabinetmaker, but also a merchant. In this capacity, he collaborates with some of the most renowned cabinetmakers of his time: Bircklé, Canabas, Criaerd, Jacques Dubois, Lacroix, Saunier and Topino.
His career spanned nearly thirty years, from his mastership in 1729 to his death in 1758. His workshop therefore flourished at a pivotal time. It was indeed the transition from style Regency, simpler and lighter, with a style Louis XV, curved and rocky.
Its furniture is distinguished by:
- frequent use of geometric marquetry in exotic wood veneers (including violet wood, amaranth, rosewood); ;
- an ornamentation in gilded bronzes, elegant but measured; ;
- of the balanced proportions, marking a desire for refinement without exuberance.
After his death in 1758, His son, Pierre V, took over the workshop. He thus continued the family tradition into the second half of the 18th century.
Bibliography
- Sophie Mouquin — Pierre IV Migeon, 1696-1758: at the heart of a dynasty of Parisian cabinetmakers. Paris: Les Éditions de l'Amateur, 2001.
- Pierre Kjellberg — French furniture of the 18th century: a dictionary of cabinetmakers and joiners. Paris: Éditions de l'Amateur, 1989.
State of affairs report
Upon arrival, the piece of furniture showed no structural defects, apart from slight cracks on a few panels. However, the veneer was in very poor condition. The glues, severely dehydrated, had caused splits, cracks, and peeling. There were also some missing pieces. Furthermore, old grafts were visible, due to the lack of sufficiently dark violet wood: sliced veneer, which was too pale, had been used instead.
The French polish was in good condition. However, traces of brass cleaner were visible underneath. These acidic products had stained the wood near the brass, likely leaving drips and even fingerprints. Finally, most of the brass parts had come loose; only the veneer still held them in place.
The Restoration
Fortunately, this cabinet is demountable. We were therefore able to treat each element under vacuum, regenerating the old glues through infiltration. Then, in place of the old grafts, we installed sawn, scraped, sanded, and cut-to-the-correct thickness violet wood as a backing.
To remove traces of "cooking," we removed the old finish with a suitable solvent. Then, a Roubo wax polish brought us closer to the original finish. A layer of urea-aldehyde resin (ketone resin) now protects the brass. Finally, after servicing the locks, we made the missing keys.
