{"id":10171,"date":"2025-07-11T21:23:07","date_gmt":"2025-07-11T19:23:07","guid":{"rendered":"https:\/\/ebenisterie-mathieuvath.fr\/?p=10171"},"modified":"2026-10-27T17:23:40","modified_gmt":"2026-10-27T16:23:40","slug":"bureau-a-8-pieds-boulle","status":"publish","type":"post","link":"https:\/\/ebenisterie-mathieuvath.fr\/en\/2025\/07\/11\/bureau-a-8-pieds-boulle\/","title":{"rendered":"8-foot Boulle desk"},"content":{"rendered":"

Voici une restauration men\u00e9e en d\u00e9but d\u2019ann\u00e9e par Rapha\u00ebl. Ce fut un travail long, mais concluant. D\u2019ailleurs, j\u2019ai revu ce bureau r\u00e9cemment : il a parfaitement support\u00e9 de fortes variations de temp\u00e9rature et d\u2019humidit\u00e9. La suite de ce rapport est de la main de Rapha\u00ebl.<\/p>\n\n\n\n

A "Mazarin" office\u00ab<\/h4>\n\n\n\n

Ce bureau date de l\u2019\u00e9poque Louis XIV. Il est couvert d\u2019une marqueterie Boulle de laiton sur fond d\u2019\u00e9caille de tortue rouge. Huit pieds en console portent la caisse ; ils sont reli\u00e9s quatre \u00e0 quatre par une entretoise en X. En fa\u00e7ade, il ouvre par sept tiroirs. Six se r\u00e9partissent dans les deux caissons lat\u00e9raux. Au centre, le septi\u00e8me, plus large, surmonte une niche en retrait, ferm\u00e9e par un abattant. Enfin, toutes les parties massives sont en sapin, des bronzes dor\u00e9s ornent le pi\u00e9tement et une lingoti\u00e8re entoure le plateau.<\/p>\n\n\n\n

Le plateau est orn\u00e9 de riches arabesques, inspir\u00e9es de Jean Ier B\u00e9rain. Au centre, trois personnages euphoriques sont entour\u00e9s de vases, de chim\u00e8res et d\u2019animaux. De part et d\u2019autre, les d\u00e9cors proviennent de paquets distincts. Pourtant, ils se r\u00e9pondent avec harmonie. On y voit ainsi un entrelacs de chim\u00e8res, de rinceaux et de fleurons sur fond d\u2019\u00e9caille.<\/p>\n\n\n\n

Au centre des c\u00f4t\u00e9s, deux enfants jouent \u00e0 la bascule sous un lustre. Autour, des rinceaux, des fleurons et quelques animaux encadrent la sc\u00e8ne. Quant aux tiroirs, ils montrent des personnages tenant une coupe et une jarre, parmi draperies et rinceaux. Enfin, sur l\u2019abattant, un personnage danse au milieu de singes musiciens, d\u2019oiseaux et de lapins.<\/p>\n\n\n\n

Les pieds, les montants et les entretoises portent, eux, de simples rinceaux et fleurons.<\/p>\n\n\n

\n
\"Bureau
Before restoration<\/figcaption><\/figure>\n<\/div>\n\n\n

Jean B\u00e9rain<\/a> father (1640-1711)<\/strong><\/h2>\n\n\n\n

Fils et petit-fils d\u2019arquebusiers lorrains, Jean B\u00e9rain grandit \u00e0 Paris. Sa famille s\u2019y est install\u00e9e pour fuir la guerre de Trente Ans. Il apprend le dessin et la gravure en famille, puis aupr\u00e8s de Charles Le Brun. En revanche, il ne fr\u00e9quente pas l\u2019Acad\u00e9mie et ne voyage pas en Italie. Il se fait d\u2019abord conna\u00eetre comme organisateur de spectacles, aux Menus Plaisirs. Puis, en 1674, Louis XIV le nomme dessinateur de la Chambre et du Cabinet du roi.<\/p>\n\n\n\n

D\u00e8s lors, il dessine costumes, d\u00e9cors de th\u00e9\u00e2tre et machineries. Gr\u00e2ce \u00e0 ce travail, il rencontre une riche client\u00e8le qui lui commande des d\u00e9cors int\u00e9rieurs. Il fournit ainsi des mod\u00e8les de plafonds, lambris, chemin\u00e9es, meubles et tapisseries. \u00c0 l\u2019occasion, il organise aussi des pompes fun\u00e8bres. Il meurt \u00e0 72 ans dans son logement des galeries du Louvre. On l\u2019inhume ensuite \u00e0 Saint-Germain-l\u2019Auxerrois. Enfin, son fils, Jean B\u00e9rain, poursuivra son \u0153uvre.<\/p>\n\n\n\n

<\/p>\n\n\n\n

THE BERAIN STYLE<\/strong><\/h3>\n\n\n\n
\n

Ce style reprend le th\u00e8me des grotesques, cher au XVIe si\u00e8cle et \u00e0 l\u2019\u00e9cole de Fontainebleau. Toutefois, B\u00e9rain le traite de fa\u00e7on tr\u00e8s personnelle. Il aime aussi les grandes architectures classiques. Ses compositions sont toujours centr\u00e9es, encadr\u00e9es de portiques fantaisistes ou de lambrequins. De plus, des volutes sym\u00e9triques les ornent, peupl\u00e9es de petits personnages fantastiques ou all\u00e9goriques. Il travaille \u00e0 l\u2019aquarelle, d\u2019un trait tr\u00e8s d\u00e9licat. Enfin, ses arabesques \u00e9quilibr\u00e9es annoncent celles, plus l\u00e9g\u00e8res encore, de Claude Audran et de Watteau.<\/p>\n<\/div>

\"Jean<\/figure><\/div>\n\n\n\n

State of affairs report<\/h2>\n\n\n\n

Le premier d\u00e9g\u00e2t venait d\u2019un vernis polyur\u00e9thane. En effet, des cloques \u00e9taient apparues \u00e7\u00e0 et l\u00e0 sur le plateau, et seulement l\u00e0. De plus, les diff\u00e9rences d\u2019\u00e9paisseur des laitons d\u00e9formaient la surface. Une fois le vernis retir\u00e9, nous avons compris pourquoi : on avait utilis\u00e9 des colles cyanoacrylates modernes. Or ces colles sont \u00e0 proscrire en restauration, car elles sont irr\u00e9versibles. Par ailleurs, ce vernis emp\u00eachait le meuble de respirer. C\u2019est pourquoi une grande partie des laitons s\u2019\u00e9tait d\u00e9coll\u00e9e.<\/p>\n\n\n\n

Sur le caisson et les tiroirs, le vernis \u00e9tait moins \u00e9pais. On notait toutefois quelques laitons d\u00e9coll\u00e9s et des fentes au centre de chaque c\u00f4t\u00e9. Les pieds \u00e9taient en bon \u00e9tat, malgr\u00e9 quelques d\u00e9saffleurs. Enfin, les entretoises pr\u00e9sentaient aussi quelques laitons d\u00e9coll\u00e9s.<\/p>\n\n\n\n

C\u00f4t\u00e9 structure, le pi\u00e9tement se d\u00e9tachait en partie de la caisse. D\u2019ailleurs, un pied \u00e9tait d\u00e9j\u00e0 d\u00e9coll\u00e9 \u00e0 son arriv\u00e9e \u00e0 l\u2019atelier.<\/p>\n\n\n\n

\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n<\/figure>\n\n\n\n

The Restoration<\/h2>\n\n\n\n

L\u2019essentiel du travail a donc consist\u00e9 \u00e0 retirer ce vernis polyur\u00e9thane, au scalpel et \u00e0 deux (merci Paul). Ensuite, la restauration a pu suivre son cours habituel. Pour les tiroirs et le plateau d\u00e9pos\u00e9, une infiltration de colle sous vide a r\u00e9hydrat\u00e9 les marqueteries. Quant aux traverses avant et aux c\u00f4t\u00e9s, des cales de forme ont \u00e9t\u00e9 utiles.<\/p>\n\n\n\n

Par ailleurs, environ 80 % des laitons du plateau ont d\u00fb \u00eatre d\u00e9pos\u00e9s. Il fallait en effet retirer les restes de colle vinylique et cyanoacrylate pour que le laiton adh\u00e8re bien. Puis ces pi\u00e8ces ont retrouv\u00e9 leur place, coll\u00e9es \u00e0 chaud \u00e0 la colle de poisson (ichtyocolle). Enfin, une finition \u00e0 la gomme laque au tampon a termin\u00e9 le travail.<\/p>\n\n\n

\n
\"Bureau<\/figure>\n<\/div>\n\n\n

<\/p>\n\n\n\n

\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n<\/figure>\n\n\n\n

<\/p>\n\n\n

\n
\"Bureau
After restoration<\/figcaption><\/figure>\n<\/div>\n\n\n
\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n\n\n\n
\"Bureau<\/figure>\n<\/figure>\n\n\n\n

<\/p>\n\n\n\n

\n
To see previous restorations<\/em><\/strong> <\/em><\/strong><\/a><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Voici une restauration men\u00e9e en d\u00e9but d\u2019ann\u00e9e par Rapha\u00ebl. Ce fut un travail long, mais concluant. D\u2019ailleurs, j\u2019ai revu ce bureau r\u00e9cemment : il a parfaitement support\u00e9 de fortes variations de temp\u00e9rature et d\u2019humidit\u00e9. La suite de ce rapport est de la main de Rapha\u00ebl. Un bureau \u00ab\u00a0Mazarin\u00a0\u00bb Ce bureau date de l\u2019\u00e9poque Louis XIV. Il est couvert d\u2019une marqueterie Boulle de laiton sur fond d\u2019\u00e9caille de tortue rouge. Huit pieds en console portent la caisse ; ils sont reli\u00e9s quatre \u00e0 quatre par une entretoise en X. En fa\u00e7ade, […]<\/p>\n","protected":false},"author":1,"featured_media":10064,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[109,77,67,168],"tags":[116,80,72,3,15,150,76,343,38,37,36,10],"class_list":["post-10171","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bureau","category-marqueterie-boulle","category-restauration-de-mobilier","category-xviiie-siecle","tag-bureau","tag-colle-animale","tag-colle-de-poisson","tag-conservation-restauration","tag-ebenisterie-mathieu-vath","tag-louis-xiv","tag-marqueterie-boulle","tag-mazarin","tag-restaurateur","tag-restauration-de-meubles","tag-restauration-de-mobilier","tag-vernis-au-tampon","clearfix"],"acf":[],"yoast_head":"\nBureau \u00e0 8 pieds Boulle • \u00c9b\u00e9nisterie Mathieu Vath<\/title>\n<meta name=\"description\" content=\"Restauration d'un bureau Mazarin \u00e0 8 pieds 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