Restoration. Conservation. Creation
Restoration of a solid walnut table with marquetry decoration in the "architectural whims" and "wild grass" styles. It comes from the Austrian Tyrol and dates from the mid-17th century. It rests on four twisted legs adorned with flattened balls. An X-shaped stretcher connects these legs. A wide drawer opens in the front, beneath a rectangular top. The richly inlaid top is framed by a rosewood border. This is followed by bands delimited by wide oak stringing...
Restoration of a Louis XIV Dauphiné commode, veneered in geometric Alpine wood. With a bombé front, it opens with three drawers in three rows. Moreover, its proportions and construction are those of a full-size commode (dovetail joints, intermediate shelves, etc.). The cabinetmaker has masterfully played with contrasts by juxtaposing different wood species. The quality and variety of the woods used in this small piece of furniture are noteworthy. First, olive and olive burl. Then walnut and rosewood for the framing bands, highlighted with double fillets of […]
Restoration of a Louis XVI period commode with a central projection, stamped JF LELEU. Entirely constructed of oak, it is veneered with amaranth, rosewood, boxwood, stained maple burl, and tobacco-grey maple. A frieze of posts adorns the top drawer. On the projection, Greek key patterns and fleurons are set within a mosaic of hexagons, known as "marquetry à la reine." It has three drawers, two of which conceal drawers with crossbars. Furthermore, its front uprights have canted corners and simulated fluting. Finally, its feet are made of […]
Restoration of a small table cabinet (height 14.3 cm, width 17.3 cm, depth 13 cm), likely a traveling model. It is made of solid wood, with intarsia decoration on all sides. A drop-front conceals eight drawers; in fact, the bottom drawer simulates two. Its composition is very rich, combining eight different wood species. The frame is made of fir, and cherry for the visible parts. Large central panels of sycamore maple are inlaid. Around these, bands of plum wood frame them, then a fillet of […]
The restoration of five Boulle marquetry clocks, begun a few months ago, is now complete. Here is a Regency clock and its console, inlaid with tortoiseshell and brass on an oak frame. Measuring Time: Since time immemorial, humankind has sought to measure time. First came the gnomon, a simple stick planted in the ground, the ancestor of the sundial. Then came the clepsydra, where water flows, and later the hourglass, based on the same principle. Through these methods, people organized their social, religious, and […]
Restoration of a set of four Art Nouveau nesting tables, made by the Gallé workshops. Each tabletop bears their marquetry signature. The beechwood base is adorned with a naturalistic decoration of tree branches. The tabletops feature marquetry of daffodils, seascapes, and lapping catkins. This marquetry combines ash, walnut, sycamore maple, rosewood, mahogany, walnut burl, and elm. Émile Gallé (1846-1904) Émile Gallé is an emblematic figure of Art Nouveau. He is indeed […]
Restoration of an English cabinet from the late 17th or early 18th century, veneered in walnut and maple. It features the distinctive free-flowing arabesque marquetry known as seaweed marquetry because it evokes the seaweed found on the seabed. Seaweed marquetry is traditionally associated with Dutch and Flemish cabinetmakers of the second half of the 17th century, particularly Gerrit Jensen. Indeed, in 1689, William III of Orange ascended the English throne with his cabinetmakers. Later, religious persecutions on the continent brought others to England. […]
Restoration of a Louis XIV period two-part display cabinet veneered in cedar, ferreol, and cherry, with moldings of blackened fruitwood. With its flat front and sides, it opens at the bottom with two doors. At the top, however, two grilled doors open beneath a straight cornice. Finally, the whole rests on ball feet. This type of marquetry is also found on furniture from the second half of the 17th century. Condition report: This piece of furniture presented numerous alterations. First, on the frame side, the nailed back panels ensured squareness and the […]
Restoration of a rare late 17th-century clock case in four-color marquetry, also known as "wood painting" or "jasmine painting." It is composed of maple, pear, boxwood, and green-stained maple on an ebony ground. Note that the base was likely added later. Several graphic styles are incorporated into this piece, including scrolling foliage and acanthus leaves, bouquets of flowers, and a bird on the pediment. The frame and moldings are made of walnut and are stained black. A […]
Restoration of a Regency mantel clock in brown tortoiseshell and brass marquetry on an oak frame. Without its bronze mounts, this type of furniture loses its splendor. When it is restored to its original fittings, its symbols take on their full meaning, as its function is to tell the time. The Fame on the escapement and the eagle on the door are perfect examples. Originally, Fame was a Greek goddess who personified public reputation. The Greeks called her Pheme (Φήμη), the Romans Fama. Daughter of Gaia, this […]
Restoration of an Art Nouveau desk stamped by Louis Majorelle, made in Nancy around 1905. Crafted from solid walnut, it is decorated with primrose marquetry. The work involved replacing some missing veneer, cleaning the piece, and restoring its waxed finish. Louis Majorelle was born in September 1859 in Toul and died in January 1926 in Nancy, at the age of 66. Son of the renowned furniture maker Auguste Majorelle, he developed an early interest in craftsmanship and drawing. He then entered the École des Beaux-Arts in Nancy, […]
Restoration of a cartel clock in red tortoiseshell and brass marquetry. The movement is stamped by Clément Fiacre in Paris. Clément Fiacre, one of the most important clockmakers of his time, received his master's certificate on January 16, 1714. He settled in Paris and quickly gained renown. Established on Rue Saint-Denis around the mid-1740s, he created his work in the Regency style, where wood was richly worked, notably through tortoiseshell and brass marquetry. He also produced veneers in rosewood, amaranth, and other woods.
Restoration of a Transition period commode stamped by the master cabinetmaker Léonard Boudin (1735 in Paris – 20/12/1807). Constructed of solid oak, it is veneered with amaranth, rosewood, and tobacco-stained maple. Its marquetry of boxwood, hornbeam, and holly forms panels on the front and sides with motifs of flowering vases and covered pots. The front features a slight central projection and opens with two drawers without a central divider. Its rounded uprights rest on cabriole legs. Boudin also produced numerous Transition period commodes […]
Restoration of a Louis XV period drop-front secretary, also known as a cabinet, stamped by Charles Chevalier, with curved sides and a front without an intermediate rail. Constructed of oak and softwood, it is veneered with marquetry of maple, boxwood, blue-stained maple, holly, hornbeam, and barberry on a rosewood ground framed by violet wood. The drop-front opens with its original three-point lock, revealing a compartment containing seven shelves in four rows and four drawers. The whole contains […]
Restoration of a Regency commode, probably from southeastern France, on a softwood frame. Its veneer combines yew, plum, rosewood, walnut, cherry, amaranth, violet wood, boxwood, and green-stained maple. Besides its highly unusual marquetry decoration, this commode is also distinguished by its crowned R bronze mounts. The crowned R hallmark should not be confused with the crowned C hallmark. The latter corresponds to a tax levied from 1745 to 1749 on objects made of […]
Restoration of a Louis XVI secretary desk stamped by Charles Topino. Its form is typical of Topino, and its frame is made of oak and softwood. The front opens with a drawer and a drop-front covered in red leather and tooled in gold. Behind the drop-front, two compartments and four drawers veneered in rosewood are revealed. Below, two marquetry doors depicting vases and draperies on a tobacco ground conceal a shelf. The drop-front itself features musical instruments, ribbons, and foliage, also on a tobacco ground. Around this, […]
Restoration of a Louis XV desk veneered in rosewood and violet wood on an oak and softwood frame. Replacement of missing veneer, cleaning, and refinishing with a French polish. Cleaning and conservation of the leather. Removal and steam cleaning of the gilt bronze mounts. To see previous restorations: https://ebenisterie-mathieuvath.fr/en-ce-moment-a-latelier/
Restoration of a commode stamped Michel Mallerot. With its serpentine front, it is entirely veneered in kingwood. Its frame is made of fir. As for the drawers, their sides are beech and their bottoms are walnut. You don't know Michel Mallerot? That's understandable! Indeed, Michel Mallerot (1675-1753) remains little known, like many Parisian cabinetmakers of the early 18th century. He was identified thanks to a pencil inscription, "M. Mallerot," on a Regency commode bearing this abbreviated stamp (formerly in the Philippe Glédel collection). The […]
Here are some images of the restoration of a Regency period cartel clock in brown tortoiseshell and brass marquetry on an oak frame. The movement is signed CLOUZIER A PARIS. Jacques Clouzier (1692-1754) was admitted as a master watchmaker by presentation of his masterpiece on July 5, 1692. He is among the greatest Parisian watchmakers of the Louis XIV and Regency periods. He became a member of the watchmakers' guild in the 1700s. He worked on Rue Saint-Antoine until 1726, then on Rue des Prêtres-Saint-Paul. Active until his death in 1754, he collaborated with the greatest cabinetmakers and bronze workers, such as […]
Restoration of an eight-legged desk, commonly known as a "Mazarin" desk, from the Louis XIV period, late/early 17th century. Its frame is made of solid pear and softwood, with pear wood sides and drawer bottoms. It features two side cabinets, each with three drawers, and a central drawer above a middle cabinet with rounded edges. Two X-shaped stretchers connect the uprights and the eight console-like legs. The drawers are inlaid with pewter and blackened pear wood, depicting a late 17th-century design. The sides, as well as […]
A few weeks ago, I introduced you to a money changer's table. Well, here's its successor: the money changer's desk. Inspired by the eight-legged desks more commonly known as "Mazarin desks," the money changer's desk is a smaller version. Often transported, it must protect the valuables it contains. Through its marquetry and more or less elaborate veneers, it also displays the prosperity of its owner. For those interested in the origins of these pieces of furniture and the money changer's profession, I […]
Restoration of a Louis XVI period provincial commode. It is constructed of softwood and oak, and veneered with violet wood, rosewood, sycamore maple, boxwood, ebony, and stained maple. At its center, a bucolic scene depicts two women playing cards between two trees, watched by a man. In the background, a house and a church are visible. The entire scene is framed by a medallion of flowers engraved and colored with black and red wax. The two lower drawers are framed by a frieze depicting a […]
Restoration of a Transition period (1750-1774) salon table, veneered in satinwood and stamped by Pierre Garnier (circa 1726-1800). Originally from Paris, the son of master cabinetmaker François Garnier, Pierre Garnier obtained his master's certificate on December 31, 1742. Unlike his father, he left the Faubourg Saint-Antoine for the Rue Neuve-des-Petits-Champs, near the Place Vendôme. His clientele included merchants such as Léonard Boudin and Pierre Migeon, but above all, the wealthiest members of the kingdom. He thus fulfilled numerous commissions for Louis Georges Érasme, Marshal of France, and the Duchess of […]
Restoration of a Louis XV period marquetry game table (or backgammon table) with dice (or cubes) veneered in amaranth, rosewood, violet wood, palisander, ebony, and ivory. This table is stamped by the Parisian cabinetmaker Pierre Roussel (September 28, 1723 – June 7, 1782). Pierre Roussel was the son of Michel Roussel, a journeyman cabinetmaker from the Cotentin peninsula. His younger brothers, Jacques, Michel, and Louis, chose carpentry; he alone opted for cabinetmaking. He became a master on August 21, 1745. He then set up shop in the Faubourg Saint-Antoine, on rue […]
Restoration of a large cartel clock (137 cm high) and its bracketed base, from the Regency period. Made of solid oak, it is veneered with Boulle marquetry of brown tortoiseshell and brass. It is further adorned with floral garlands, crosshatching, and foliage. Its chased and gilded bronze dial features interlacing patterns and birds. The Roman numerals are enameled, and a reserve bears the signature St Martin à Paris. The clock plate also bears the same name. Finally, on the capital, chased and gilded bronzes depict […]
Restoration of a small Louis XIV period walnut and violet wood veneer box. Repair of missing veneer, re-gluing of joints, and reconstruction of the drawer and missing interior elements. Polished wax finish. To see previous restorations: https://ebenisterie-mathieuvath.fr/en-ce-moment-a-latelier/
Restoration of a Transition period commode. Constructed of fir and oak, it is veneered with rosewood and violet wood, with a Greek key frieze of green-stained hornbeam stringing. The sides are veneered with satinwood and violet wood. André-Antoine Lardin (1724 – August 10, 1790) obtained his master craftsman's certificate on July 1, 1750. He set up shop on rue de Charenton, under the sign "Au Bois de Boulogne." He worked there until 1770, then moved to rue Saint-Nicolas. His output was considerable. His furniture, in all styles (Louis […]
Here is a very pretty Louis XVI period commode, veneered in rosewood and amaranth, with marquetry of boxwood, pearwood, maple, hornbeam, walnut, blackened pearwood, lemonwood… It is built of oak and softwood. It is stamped twice with the mark of Jean-Baptiste II TUART. But its maker is probably Jean LAPIE. Jean-Baptiste II Tuart came from a dynasty of Parisian cabinetmakers and merchants. His father, Jean-Baptiste I, obtained his master craftsman's certificate in 1741 and remained active until around 1760. Born around 1720, Jean-Baptiste II was not a master cabinetmaker, but a master woodworker […]
Restoration of a Napoleon III period sewing table inlaid with mother-of-pearl, brass, and ebony. As you can see from the photos, this sewing table was in very poor condition. Only the dedication of its owner saved it. Indeed, the restoration time would have been far too long considering the object's value. First, almost all the brass inlay on the base was missing. In addition, there was a significant amount of veneer missing. Finally, the passage of a chair and a dog bite had caused damage. But the […]
To end the year on a high note, here's a restoration that occupied a large part of my time this year and which reached its owner a few weeks ago. It's the restoration of an eight-legged writing desk, commonly known as a "Mazarin" desk. Constructed of solid oak and softwood, the sides and drawer bottoms are made of light walnut. The marquetry covering it consists of Caret tortoiseshell (Eretmochelys imbricata) on a vermilion red ground, and brass. All of this is framed by delicate ebony stringing. It is […]
This week, we restored a Louis XVI commode with a projecting front, veneered in Rio rosewood, amaranth, rosewood, and violet wood. Boxwood and ebony stringing forms a coiled ribbon, with engravings filled in red wax. Finally, the tapered feet and canted uprights feature faux fluting in ebony and boxwood. However, no stamp allows us to attribute this very fine piece, crafted from high-quality wood. The restoration required little work. In fact, a colleague was already […]
Extensive restoration work has been undertaken on this Mazarin desk, veneered in kingwood and rosewood. It is entirely veneered on fir, with a solid rosewood base. The top features a marquetry of rosewood stars, surrounded by kingwood butterfly wings arranged in circles. Why the name "Mazarin"? The eight-legged desk is one of the jewels of 17th-century furniture. Antique dealers only began calling it "Mazarin" in the 19th century, to lend it more "prestige." In reality, it only appeared around […]
A major restoration was undertaken for this small Louis XV style desk, richly adorned with bronze mounts and veneered in rosewood. The restoration involved replacing the missing veneer while preserving as much of the remaining material as possible. This was achieved by using veneer that was sliced, scraped, sanded, oxidized, and varnished before being re-glued, thus avoiding the need to sand the piece before finishing. Rosewood is a very dark wood that lightens with age, developing a beautiful reddish patina that cannot be removed by any means.
Restoration of a Napoleon III period wall shelf veneered in blackened pearwood, rosewood, amaranth, amboyna burl, and marquetry with a music theme. Underneath the dust, aside from small losses in the blackened pearwood and rosewood, and slight dehydration, there was nothing too serious. A few veneer grafts, a vacuum-sealed glue application, a thorough cleaning, a coat of clear French polish, and voilà! All this without using sandpaper. Except for lightly sanding the varnish […]
This week marks the completion of the restoration of a Louis XVI commode stamped JA BRUNS. Its frame is oak, except for the side panels, backs, drawer fronts, and two drawer bottoms, which are made of softwood. It is veneered with rosewood in a butterfly pattern and amaranth for the edges. The false fluting is in boxwood and ebony. A green-stained maple fillet outlines the Greek key corners. A few satinwood additions from previous restorations are visible. The marble top is Sainte-Anne gray. This commode […]
Here are some images of the restoration of a secretary desk stamped by Pierre Roussel (1723-1782). Having become a master cabinetmaker in 1745, Pierre Roussel set up shop on Rue de Charenton, in the Faubourg Saint-Antoine, under the sign "L'Image de Saint Pierre" (The Image of Saint Peter). Thanks to his skills as a cabinetmaker and especially as an exceptional marquetry artist, he quickly gained a great reputation. In 1762, he became a sworn member of his guild. By 1767, he was considered one of the best cabinetmakers of his time. Highly regarded by his colleagues, he became a representative of the cabinetmakers' guild in 1777 and then syndic two […]
To kick off the new year, I'm excited to present my new project. I'm embarking on a replica of this box attributed to André Charles Boulle. You'll be able to follow the progress, and even come see it in person: it will be my main subject for marquetry work at shows and events in the coming years. Yes, I'm talking about several years, because it's an extremely lengthy process. Choosing the Woods: First, I had to find and select the woods for the marquetry. The background […]
Here is a Louis XVI style table, which is probably an early 20th-century piece. It was likely made in the Faubourg Saint-Antoine, or perhaps at the École Boulle. I have seen apprentice furniture of this quality made by students during their training. Its frame is oak, while the veneer is rosewood and mahogany with a black inlay. The restoration was straightforward, apart from a lack of rosewood in the marquetry […]
Some time ago, I told you about this desk that was being restored. Well, here it is finished. The varnishing took three weeks, allowing enough time for the varnish to dry properly and achieve the best possible result. To review the restoration process: Louis XV slant-front desk. Here are some before and after photos.
A classic restoration of Boulle marquetry: rehydration of the old glue by infiltration, creation and gluing of the missing brass fittings, and reconstruction of the base, which was in poor condition but not beyond repair. Finally, the bronzes were cleaned and a clear French polish was applied. Proof that appearances can be deceiving: even a badly damaged piece of furniture can regain its former beauty.
This week marks the completion of the restoration of a Louis XVI period secretary. Martin Ohneberg (master craftsman in 1773), who created this piece, was an excellent marquetry craftsman. Indeed, he used very high-quality rosewood. Furthermore, he produced numerous pieces of furniture with very simple lines but exquisite marquetry, including an infinite variety of drop-front secretaries. This particular one is veneered in rosewood and amaranth, with a mosaic marquetry of maple florets on a red satinwood ground. Moreover, the framing bands are made of […]
A look back at the restoration of a 17th-century Louis XIII table. It's made of solid walnut, veneered with walnut, ebony, ivory, and boxwood. It had spent a long time in an attic, and its top unfortunately suffered considerably. Much of the veneer was missing. I first removed what little veneer remained. It was very easy: it was completely detached. All I had to do was lift it with a thin blade and it would come right off. I then re-glued the top, adding material where the […]
This week, I restored a lovely pedestal table, made locally with a solid ash base and marquetry of maple, walnut, and plum wood for the bottomless cubes. The restoration wasn't too difficult: I re-glued the loose marquetry pieces, stripped the table, and then French polished it. I used a very interesting new recipe, given by Dessaignes in 1861. I'll present it in a future post.
A look back at a fascinating restoration project (at least for me). So fascinating, in fact, that I forgot to take photos at the beginning! This cabinet dates from the 17th century. Its upper section has two drawers in the cornice and two doors. The base features two drawers in the frieze, supported by eight turned feet, and a top on ball feet. Inside, there are twelve drawers and two doors, which conceal a theater and eleven more drawers. The feet and moldings are made of solid pear wood. The rest of the […]
A month ago, a lovely Transition-style commode arrived at the workshop. It reminds me of the work of the cabinetmaker Charles Topino (circa 1742-1803) – who received his master craftsman's certificate on July 4, 1773. But it doesn't bear his stamp, nor any other for that matter. Proof that a piece of high-quality furniture doesn't need a stamp. Its marquetry could very well have come from Topino's workshop. He did, in fact, sell marquetry panels to haberdashers and his colleagues, who used them to adorn their furniture. This commode could therefore be inspired by Topino […]
Remember that slant-front desk? Well, it's finished. It wasn't easy, but it's regained its former glory. All that's left is to install the drawer locks and the leather before it goes back to its owner. I remade a large part of the legs using sawn kingwood. I cut it to the correct thickness, scraped, sanded, and oxidized it before gluing. That way, there was no need to sand the entire piece of furniture, which would have damaged it even more.
Here is a corner cabinet stamped by Jean-Mathieu Chevallier. It is made of solid oak, veneered with rosewood and violet wood, with a boxwood inlay. Jean-Mathieu Chevallier was already established on Rue de Grenelle, under the sign of "La Croix Chevallier," when he received his master craftsman's certificate in 1743. He subsequently expanded his business considerably. He was notably in business with André-Charles Boulle, one of the sons of the famous cabinetmaker. Furthermore, he participated in furnishing the Hôtel du Duc de Talmont and the Château de […]
This week, a small Louis XVI style games table left the workshop. As you'll see, there wasn't much work to be done. It just goes to show that a simple cleaning, revarnishing, and a fresh coat of leather can breathe new life into a rather dull piece of furniture.
After several hours of cutting, gluing, re-gluing, and cleaning the surfaces, we finally reach the finishing stage. I chose to varnish this cartel clock with a French polish. This finish enhances the marquetry, protects it, and remains easily reversible, like all my work. I always use a clear shellac varnish, on wood as well as other materials. The varnishing process is difficult to explain: only hours and hours of practice allow you to acquire all the secrets of this traditional technique. Once […]
I reattached the structure, removed the brass, cleaned up the remaining animal glue, and eliminated the traces of superglue and neoprene adhesive. Next came cutting the new pieces of brass and tortoiseshell to fill the gaps. So, as usual, I took an impression of the missing piece. I then glued this paper onto a brass plate, which was itself glued with fish glue to a 4mm plywood base. This made the plate easier to cut. Retrieving the brass piece is simple: […]
Once the various structural elements were glued back together, I tackled the tortoiseshell and brass marquetry. As you'll see, on this clock it's in very, very bad condition; practically nothing is holding. So, all the brass has to be removed. The tortoiseshell, however, is holding well; it's only partially detached. The first step in restoring this marquetry is therefore to remove and set aside each brass element. The second is to clean off the old glue, […]
Here is my first client, or patient… whichever you prefer. It's a Boulle marquetry cartel clock in brown tortoiseshell, ebony, and brass. As the photos show, it's not in very good condition. A lot of the brass is missing, and what remains is peeling off everywhere. At first glance, it's always difficult to precisely date a Boulle cartel clock. Moreover, this one doesn't bear a maker's mark. On the other hand, it has corkscrew screws, typical of the 18th century, and few visible tool marks. Yet, I had a hunch it was a copy […]
And there you have it, it's finished and ready to use. All the tools are in their proper place. All that's left is to find bronze fittings for the handles and keyhole escutcheons. For the finishing technique, I used the same one applied to furniture of that period: polishing. I first scraped the surface, then sanded it with 150-grit sandpaper. Next, I applied Venetian tripoli mixed with olive oil using a piece […]
For these marquetry designs, I consulted Pierre Ramond's book, "André-Charles Boulle, Cabinetmaker, Chaser, and Marquetry Maker to the King." I used the marquetry drawings from the Boulle workshop's cabinet (circa 1715-1720). However, I removed the birds and the butterfly to simplify the design. Furthermore, I partially used the "Boulle" method for the acanthus leaves and the vase. Finally, for the flower bouquets, I chose the technique of painting on wood.
Here are some photos of the marquetry on the tool cabinet. For the corner pieces, I was inspired by those on a table by Pierre Gole, a predecessor and major influence of André-Charles Boulle. For this cabinet, I needed to make 16 corner pieces. So, to save time, I decided to use the Boulle marquetry technique. I made four bundles of different colored woods to obtain four different marquetry designs from a single cut. Therefore, there are four identical designs, but with different flower colors. Then, […]
Here are some pictures of the creation of the birds for the marquetry on the lower doors. I cut them out using a marquetry easel, then inserted them into a background of blackened pear wood. The branches are made of walnut.
I indulged myself with this marquetry project; I had always wanted to recreate this famous marquetry fresco. This allowed me to revisit David Roentgen's "mosaic marquetry" technique. I created a pack with a hornbeam leaf, a sycamore maple leaf, and a pear leaf to make the figures, as pear wood is the best for reproducing skin tones. To tint the background, I dipped it in different baths to produce this effect of […]
With this tool cabinet, I wanted to explore and put into practice several avenues I was researching. One of them was to tackle the marquetry technique of a famous 18th-century cabinetmaker, David Roentgen. This "mosaic marquetry" involves cutting a single sheet of veneer using a conical saw. Each piece is then colored by dipping it in a chosen dye. However, there were two difficulties: the conical sawing, which is tricky on 0.6 mm veneer, and the dyeing of the wood. When I make […]
I crafted the frame from solid walnut, the panels from poplar, and the doors from plywood. Then, research guided me in choosing the various marquetry motifs. Indeed, Pierre Ramond's books on marquetry, veritable bibles on the subject, greatly inspired me. Furthermore, for the decoration of the interior drawers, I drew inspiration from the "Loves" on Jean-Henri Riesener's "Table of the Muses.".
Since the workshop is under renovation, today I'll begin describing the various stages involved in making this tool cabinet. The idea came to me while looking for a way to store all my tools in a single piece of furniture. For the style, I had recently restored a Masarine commode in the style of the HACHE family in Grenoble. When I embark on a personal furniture project, I like to explore new techniques. And I had never before tackled the Louis XIV/Regency style.
