{"id":8084,"date":"2023-11-16T12:38:28","date_gmt":"2023-11-16T11:38:28","guid":{"rendered":"https:\/\/ebenisterie-mathieuvath.fr\/?p=8084"},"modified":"2026-10-27T17:35:39","modified_gmt":"2026-10-27T16:35:39","slug":"secretaire-louis-xvi-estampille-topino","status":"publish","type":"post","link":"https:\/\/ebenisterie-mathieuvath.fr\/en\/2023\/11\/16\/secretaire-louis-xvi-estampille-topino\/","title":{"rendered":"Louis XVI secretary stamped TOPINO"},"content":{"rendered":"
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\"Secr\u00e9taire
Before restoration<\/figcaption><\/figure>\n<\/div>\n\n\n

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. On the other side, the drop-front features musical instruments, ribbons, and foliage, also on a tobacco ground. Greek key and simple amaranth and sycamore stringings frame the entire piece. The sides display two compositions of vases of flowers. Finally, the canted corners have simulated fluting, and the drawer features a green-stained maple trellis punctuated with boxwood finials.<\/p>\n\n\n

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\"Estampille
Stamped C.TOPINO<\/figcaption><\/figure>\n<\/div>\n\n\n

Charles Topino (1742-1803)<\/h2>\n\n\n\n

Charles was born in Paris in 1742. He was the son of the cabinetmaker Henry-Nicolas Topino (himself the son of master hatter Nicolas Topino)<\/em>, He settled on the Grande-Rue du Faubourg-Saint-Antoine in 1731. Initially a free worker in the faubourg, Charles became a master on November 17, 1773, after a masterpiece was presented on November 4. Then, in 1782, he was appointed deputy of the guild of carpenters and cabinetmakers, in recognition of his work.<\/p>\n\n\n

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\"Charles<\/a>
Death certificate of Charles Topino (Paris Archives)<\/figcaption><\/figure>\n<\/div>\n\n\n

A multifaceted craftsman<\/h3>\n\n\n\n

Recognized in France and abroad, Topino attracted numerous clients. He supplied furniture to merchants and lords such as the Marquis de Gravelle. Furthermore, he worked for fellow craftsmen like Boudin, Migeon, Jean-Baptiste Tuart, Pierre Denizot, Nicolas H\u00e9ricourt, and Delorme.<\/p>\n\n\n\n

In addition, he supplied a great deal of wood to his colleagues: Roger Vandercruse, known as RVLC, Mathieu-Guillaume Cramer, Denis-Louis Ancellet, Fouge, Gober, and Louis Moreau. Conversely, he also bought furniture from other cabinetmakers (Virrig, Messecl\u00e9, Jacques, Simon Guillaume, Jean-Baptiste Tuart, Ohneberg, Pierre, Rocle, Kohl).<\/p>\n\n\n\n

Charles Topino's diary reveals a peculiarity: he sold and exported ready-made marquetry. It records the sale of numerous batches of ready-to-glue marquetry to his brother Jean-Baptiste, known by the pseudonym Lebrund. These marquetry pieces are typical of Topino's style, featuring designs of birds, dogs, pottery, watering cans, tokens, playing cards, and so on.<\/em><\/p>\n\n\n\n

An innovative and varied production<\/h3>\n\n\n\n

Topino owes his place in the history of cabinetmaking to his marquetry of utensils "in the Chinese style." However, it would be reductive to stop there. Indeed, his extensive production is very varied. It also follows several decorative cycles, guided by a highly personal aesthetic.<\/p>\n\n\n\n

\"Charles<\/figure>
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Bonheur du jour, Paris, circa 1770-1775<\/p>\n\n\n\n

Built from oak and poplar <\/small>; marquetry of sycamore, rosewood, boxwood, holly <\/small>; gilt bronze wall lights
H. 89 <\/small>; L. 59.5 <\/small>; length 38 cm
Bequest by holographic will of Marguerite Jenny Anna Paradis
Inv. 32125
\u00a9 Les Arts D\u00e9coratifs \/ photo: Jean Tholance<\/p>\n<\/div><\/div>\n\n\n\n

His marquetry of flower vases, writing desks, and utensils, such as cups, teapots, and bowls, are the most typical elements of his furniture. Presented as still lifes, they are also displayed alongside playing cards and books. Most often, they are inspired by the borders of Chinese Coromandel lacquer screens. Gathered in an oval, round, or square medallion, or arranged in a frieze, these motifs are almost always shown in profile. Their carving is simple, with few pieces of wood, the details of which are then finished with a chisel.<\/p>\n\n\n\n

For his bonheur-du-jour tables, he generally remained faithful to the classic rectangular design. However, he also created a few oval models, a novelty he favored. Similarly, his marquetry tables depicting everyday objects were often oval. Most had a drawer in the center of the apron and, on the sides, two small pivoting drawers.<\/p>\n\n\n\n

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Table in chiffonier<\/p>\n\n\n\n

Poplar and walnut veneered with rosewood, amaranth, holly, serviceberry, chiseled and gilded bronzes.<\/p>\n\n\n\n

Inv. CAM 349<\/p>\n\n\n\n

\u00a9 Les Arts D\u00e9coratifs \/ photo: Jean Tholance<\/p>\n<\/div>

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

Flowers, landscapes and bankruptcy<\/h3>\n\n\n\n

Alongside these original designs, Topino also practiced marquetry of flowers and landscapes. The former are increasingly found on Louis XVI furniture. As for the latter, pastoral scenes, chinoiserie, or architectural motifs, they mainly adorn small, round drum-shaped tables with three cabriole legs.<\/p>\n\n\n\n

Despite a successful career, Topino had to close shop on December 21, 1789. The reasons were poor management, due to badly kept accounts, and the Revolution.<\/p>\n\n\n\n

BIBLIOGRAPHY<\/h2>\n\n\n\n