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CONTENTS

PrESS rELEASE 4

FOrEWOrD 7 THE CHALLENGES OF THE EXHIBITION 9

UNVEILING THE DIVErSITY OF 18TH CENTUrY SKILLS AND DESIGNS 10 SEEING, UNDErSTANDING, APPrECIATING... 12

A DIFFErENT PErSPECTIVE ON 18TH-CENTUrY FUrNITUrE 13

THE EXHIBITION 15 PLAN 16 A VISUAL LABOrATOrY 17 CABINET-MAKING 18 JOINErY, SEATING 32

IN CONNECTION WITH THE EXHIBITION 43 PUBLICATIONS 44 JEAN NOUVEL ABC 46 THE ÉCOLE BOULLE 48 MAÎTrES D'ArT VISITS 49

PArTNErS OF THE EXHIBITION 51 SPONSOrS 52 Press ccontactsontacts MEDIA PArTNErS 54

HélèneHélène Dalifard,Dalifard, AurélieAurélie Gevrey, Elsa Martin,Martin, APPENDICES 59 Violaine SolariSolari PrACTICAL INFOrMATION 60 VISUALS AVAILABLE TO THE PrESS 62 T : + 3333(0)(0) 1 30 83 75 21 [email protected] 4

PrESS rELEASE

18th century, birth of design FUrNITUrE MASTErPIECES, 1650 TO 1790 THrOUGH THE EYES OF JEAN NOUVEL 28TH OCTOBEr 2014 - 22ND FEBrUArY 2015, AFrICA rOOMS AND CrIMEA rOOM

THE PALACE OF VErSAILLES IS PrOUD TO PrESENT ITS EXHIBITION OF FUrNITUrE MASTErPIECES FrOM 1650 TO 1789, WITH rEPrESENTATIVE EXAMPLES OF THE rICHLY CrEATIVE WOrK OF THE PErIOD. THE EXHIBITION OFFErS A GLIMPSE OF THE INGENUITY OF A BYGONE ErA VIEWED THrOUGH THE LENS OF THE PrESENT DAY AND SHOWCASES THE INNOVATIVE, AVANT-GArDE NATUrE OF THE SHAPES, TECHNIQUES,

OrNAMENTATION AND MATErIALS USED IN 18TH CENTUrY FUrNITUrE. THIS IS THE FIrST EXHIBITION OF ITS KIND SINCE 1955.

THE EXHIBITION INCLUDES A HUNDrED Or SO WOrKS owned by some of the wealthiest art-lovers of the time, including the royal family and its entourage, aristocrats and financiers, and illustrates the revolution in furniture-making that took place in the th18 century. Works from all the great masters will be on display, including those by André-Charles Boulle, Antoine-Robert Gaudreaus, Charles Cressent, Bernard II Vanrisenburgh, Jean-François Œben, Jean-Henri Riesener and George Jacob.

PrEVIOUSLY-UNKNOWN WOrKS FrOM PrIVATE COLLECTIONS WILL BE SHOWN TO THE PUBLIC FOr THE FIrST TIME alongside major works from collections at the Palace of Versailles, the Musée du Louvre, the Musée des Arts décoratifs, the Château de Fontainebleau and the Getty Museum.

AS VISITOrS MAKE THEIr WAY rOUND THIS EXHIBITION, SEEING THE PIECES THrOUGH THE EYES OF JEAN NOUVEL, they will come to understand how furniture shapes and forms evolved over time, from the expansiveness of mid-17th-century cabinets to the playful curves of the Louis XV style to the straight lines of the 18th century.

THE ABUNDANT CrEATIVITY AND EXCEPTIONAL CrAFTSMANSHIP of these Ancien Régime artists will be unveiled against a clean, contemporary backdrop. Unlike paintings, furniture must be more than just admired, it must be interpreted and explained. Each piece is presented not as part of a homogenous décor but as a singular work of art. Various visual tools as used, ranging from magnifying glasses to digital imaging, to bring each piece's architecture, pattern, finish and unique qualities to the fore. 5

EXHIBITION THE ÉCOLE BOULLE SCHOOL OF ArT AND DESIGN will host special presentations for visitors, CUrATOrS including youngsters, to elucidate the connection between the culture heritage of yesteryear and

Daniel Alcouffe today's living tradition of artisanry and to explain, for instance, how a cabinetmaker makes a desk Honorary Curator - General or a woodworker builds a chair. Yves Carlier Curator General at the Musée TH National des Châteaux de AN 18 CENTUrY DESIGN Versailles et de Trianon

Patrick Hourcade IN 1712, SHAFTESBUrY INTrODUCED THE TErM AND CONCEPT OF "DESIGN" TO ArT THEOrY. It Photographer and designer contains the dual meaning of "plan" and "intention" and unifies the process of conceiving and Patrick Lemasson Head Curator, Head of shaping a work. For the first time furniture was planned with forethought, created with a specific ancient art at the Petit Palais, intention and shaped for both functionality and comfort. 18th-century furniture was produced Musée des Beaux-Arts de la Ville de Paris according to design sources, aux sources du design in French, both in its overall conception and in

Gérard Mabille its quest for harmony between form and function. Honorary Curator - General

THE TrANSFORMATION OF FUrNITUrE-MAKING WAS PArALLELED BY CHANGES IN 18TH CENTURY SOCIETY. Commissioners of major furniture pieces showed an increasing desire for comfort and luxury. The close cooperation between planners, architects, ornamentalists (precursors of designers) and highly skilled artisans formed the basis for our modern philosophy of artisanal, anti-industrial design. Decorative arts purveyors took up a new role similar to that of decorators today and invented new applications for cabinetry.

THE METAMOrPHOSIS OF FUrNISHINGS

THE QUEST FOr THE IDEAL SHAPE AND FOrM HIT ITS PEAK IN THE 18TH CENTURY, when the silhouette of furnishings began to change. Inventiveness and creativity abounded and new outlines began to take shape, from console tables to commodes to secretary and armoire desks. Rigid outlines began to soften, then morphed into rounded curves, then gave way to curved legs - sometimes four, six or even eight of them. Furniture became multipurpose and featured mechanisms that allowed it to transform into something else.

BrEAKTHROUGHS IN THE USE OF MATErIALS AND COLOUrS

THE SAME QUEST WAS UNDERTAKEN IN THE USE OF MATErIALS, with the rise of exotic woods, lacquers, varnishes, tortoiseshell, mother of pearl, bronze, brass, lead, porcelain, straw, steel and stone marquetry. Cloth, bulrush and copper began to be used in chairs. Long before the garish colours afforded by plastic in the th20 and 21st centuries, the 18th century saw the birth of furniture in red, daffodil yellow, turquoise blue and apple green, sometimes splashed with gold and silver. At the same time, other colour palettes were limited to the black and gold of lacquer and bronze, and patterns were reduced to natural ones made out of quality materials such as mahogany.

PArT I

FOrEWOrD

9

Part I — Foreword THE CHALLENGES OF THE EXHIBITION

THrEE MAJOr CHALLENGES WErE POSED BY THIS EXHIBTION; AN EXPLOrATION OF MASTErPIECES OF 18TH-CENTUrY FrENCH FUrNITUrE meant examining them in their own right outside of their historical context in different apartments, fully appreciating a curve, the gleam of a varnish or the complexity of a hidden spring, and entering the mind of Boulle, Gaudreaus or Riesener to understand how their work inspires designers today.

The first challenge was to "remove" the furniture from its usual setting within the historical setting of the Palace of Versailles, where the focus is on refurnishing the royal and princely apartments so that they ressemble as closely as possible the way they looked in the 18th century. With the assistance and keen eye of photographer and decorator Patrick Hourcade, we have followed the advice of experts who maintain that 18th-century perfection can be found in a kingly desk or a queenly commode. "An objet should not be vague or lifeless," wrote the collector Michel David-Weill in his Mémoires, "it should attract attention and must have such a strong presence that all its creative energy is concentrated inside it." With the improvements of 21st-century technology, we can understand the creative energy of the 18th century better and reveal it for the first time to exhibition visitors. This was the second challenge of the exhibition: highlighting the incredible inventiveness and awe- inspiring skills of cabinetmakers, marquetry layers, masons and bronze workers who turned furniture into an art form for the first time, rendered it part of daily life and exposed it to the world. Finally, the third challenge of this exhibition was to reveal how the craftsmen of the past have influenced modern-day designers. It is not insignificant that the word "design" was coined in 1712, marking the beginning of an uninterrupted era in which furniture has echoed society. A new perspective on 18th-century furniture revives interest at a time when it may have started to be neglected. I would like to express my thanks to Jean Nouvel for agreeing to assist us in this unique exhibition. the idea that we could approach this major theme with new ideas would never have been brought to fruition without the erudition and drive of Daniel Alcouffe; the commitment of the Palace of Versailles curators Gérard Mabille and Yves Carlier, led by Béatrix Saule; the enthusiasm of Patrick Lemasson, Head Curator and Head of Ancient Art at the Petit Palais, and the motivation of the top international experts on the scientific committee. I would like to thank each of them for their dedication in making us see these iconic items of furniture through a new perspective.

Thanks to the generosity of some of the most eminent private collectors, we have been able to combine the beauty of unknown works with a rich array of loans by some of the world's leading museums. I would like to thank each one of them. They confirm that Versailles remains the natural home of perfection.

Catherine Pégard President of the Établissement public du Château, du Musée et du domaine national de Versailles 10

Part I — Foreword UNVEILING THE DIVErSITY OF 18TH-CENTUrY SKILLS AND DESIGNS

The furniture of Versailles is often considered synonymous with perfection and success. When connected with a historical celebrity – a prime example would be Marie-Antoinette – it takes on an almost obsessive dimension. This level of perfection attained in the 18th century by Parisian craftsmen was the result of both technical and decorative work and research during the lives of several generations of masters, workers and partners. Working within a restrictive environment that was tightly controlled by the French system of corporations, they succeeded in revolutionising the fundamentals of furniture appraisal in just a little over a century. Furniture appraisal was primarily typological. A leap from 15 common types of furniture in the 1670s to approximately 100 before the Revolution illustrates the astounding evolution in form and function alongside an increase in the number of rooms in apartments. however, the correlation with interior design does not explain how a sofa came to be a paphose, a tête-à-tête, an ottoman or a turquoise, or why a veilleuse chair could be a billiards chair or a confidante chair. Neither does it justify why a table could serve for writing, for cabaret, as a chiffonier, for studying, as a desk, dressing table, campagne table, bedside table, en-cas table, or for dining, drinking tea, service or games such as backgammon!

Secondly, the new appraisal was also an aesthetic one. Among the great accomplishments of the 17th century was the use of veneer in different species of wood, generally exotic. Initially limited to ebony, it developped significantly, expanding to the creation of marquetry tables, where the brilliance of the cut and the combination of different species skilfully selected for the pattern of their grain created a rich diversity of colours (often, unfortunately, faded with time). Not satisfied with simply using wood or other traditional marquetry materials, and prompted by a rich clientele of merchants who specialised in selling works of art, cabinetmakers turned to other materials not related to their art. The use of porcelain plaques, varnished sheet metal and re-adapted oriental lacquers to fit new forms removes nothing from cabinetmakers' creativity, which increased further still with the use of a European varnish to replace lacquer, enabling furniture to be adorned with reliefs.

Lastly, this appraisal had a technical orientation. New techniques enabled joiners, for example, to remove the struts that strengthened chairs, thus making their silhouette more elegant. Similarly, cabinetmakers were able to stop using cross ties between the drawers of commodes and improve their aesthetic cohesion, while ulpholsterers could vary their materials to match the overall aspect of the chair they were covering. 11 over the past 50 years or so, since the last exhibiton on French 18th-century furniture, knowledge on the subject has developed considerably. Initially, researchers focused on identifying the artists and determining the name behind the stamp – the maker's mark – on each piece of furniture. However, a new generation has decided to classify periods of design more precisely and in particular to identify furniture with prestigious origins, establishing at the same a timeline of production, now accepted by all. On this basis, recent studies have focused on ascertaining the finer points, and in particular on detailing the different manufacturing processes. We now know that furniture was made by multiple craftsmen and artists. This meant identifying the work of each specialist: joiners, sculptors, cabinetmakers, smelters, chasers, wood or metal gilders, locksmiths, mechanics, gold leaf painters, varnishers, masons, gainiers, tabletiers, upholsterers, cane workers, manufacturers (of varnished sheet metal, porcelain, upholstery etc), haberdashers, trimmings suppliers, decorative-arts purveyors, architects, decorators and many others.

"18e, aux sources du design, furniture masterpieces, 1650 to 1790" bears testimony to all these developments. Exhibits include exceptional - and sometimes even legendary - furniture from public collections as well as a large number from private institutions and collections. Such a selection owes itself to the generosty of the lenders and the erudition and renown of the curators and scientific committee, directed by Daniel Alcouffe, who Versailles is honoured to be working with. A rich and modern discourse addresses the process of artistic creation and complements this unique collection of masterpieces. This new perspective aims to highlight the evolution of form and the growth of "design", a concept that was first adopted in 1712. It also reminds us that the furnishings on display were "modern" works of their era, whose form and aesthetics were considered audacious. Although some may appear extravagant to us today, each item testifies to the refinement of the society of theAncien Régime, represented by Paris and Versailles.

Béatrix Saule Director and Curator General at the Musée National des Châteaux de Versailles et de Trianon 12

Part I — Foreword SEEING, UNDErSTANDING, APPrECIATING...

through its displays, presentations and explanations of lines and designs and the reasons behind the transformation of the decorative arts, this exhibition reveals the driving force of invention during the Enlightenment, a period when furniture became an art unto itself for the first time. Architects, artists, merchants and simple artisans came together to craft furniture into something the world had never seen. Nothing would ever be the same again; the three daily acts of sitting on a chair, sitting at a table and organizing the home would, during the 18th century, morph into an art. Where tidying clutter once meant secreting things away, it now meant putting them on display. Straight-backed chairs gave way to more comfortable seating. Severe, throne-like armchairs stretched into chaises longues. Tables with drawers turned into desks and commodes. At the same time, straight lines were replaced by curves before regaining their place of favour. Décor, originally the realm of textiles and wall ornamentation, spread to corners, expanded to ridges and hinges, taking on shapes and colours all the way to manifold techniques and effects, some experimental. Furniture received new finishes and took on new silhouettes, exploring new materials and seeking new contours for the first time. Cabinetmakers threw off the shackles of architecture while simultaneously playing with it and mimicking its styles. Furniture became lighter in tone, and comfort and luxury took on larger role. Daily activities became closely tied to furnishings, which came into their own during this time. The relationship between the individual and furniture became starker and an art in its own right. Owing to their structure and ingeniousness and the incomparable quality of their artisanry, 18th-century furnishings became a mainstay of daily life and fashion, with all of the era's trends and styles. Along the way, furniture making acquired new status and recognition, known forever after as an intellectual design process. Today, 21st-century technology helps us focus on these inventive creations from the past, inviting exhibition visitors to trace their history and gain a better understanding of the origins of furniture as we know it today.

Patrick Hourcade Photographer and Designer, Co-Curator of the exhibition 13

Parti I — Foreword A DIFFErENT PErSPECTIVE ON 18TH-CENTUrY FUrNITUrE

When Catherine Pégard and Patrick Hourcade asked me for "a perspective" on 18th- century furniture, I pointed out my incompetence on both the subject and the era. Their reply was unambiguous: they were looking for a candid, somewhat particular viewpoint… "You're distanced from it, you create the buildings and furniture of today, so tell us what you think about these artefacts, three centuries after they were created…" It was then that I realised that the only identifiable feeling I had on the subject was a sense of being dazzled; blind admiration, in other words… So I squared my shoulders and examined the Enlightenment more closely… I first must say that my view is partial, in both senses of the word. I had hoped that one of my own starting- points for designing an architectural project (cross-referencingviews from the outside with those from the inside) would help me make myself understood.

I saw. I looked. I observed. I was surprised.

My evaluation is Sketchy. Here I can only give fragments. Perhaps one day, with a little more work, the pieces of this puzzle could be put together and the completed picture will offer a kind of analysis… I have listed some key words taken from my observations, presented in the form of an ABC to allow them to hover freely and provide food for thought. I have selected 18 letters for 18 key words (printed in bold). Depending on the ensuing text they are then backed up by other relevent or intriguing words (printed in italics). I also found it helpful to give these words their objective dictionary definition, so as to clarify how they should be interpreted. The first word is ArCHITECTUrE.

JEAN NOUVEL Architect

PArT II

THE EXHIBITION 16

Part II — The exhibition Plan

Section 1 Section 8 Section 14 Cabinet The king’s bureau Joinery - the chair Section 2 Section 9 Section 15 André Charles Colour Curves and comfort Boulle Section 10 Section 16 Section 3 Materials Large chairs Large furniture Section 11 Section 17 Section 4 “Greek style” Furniture sets The Orient and lacquer Section 12 Sections 18 and 18b Design and Transition and Louis XVI Section 5 ornamentation Charles Cressent Section 19 Section 13 The queen’s jewel case Section 6 Monumentality and Curves straight lines Section 7 Writing s16 s17

s15 s18

s14 s18 s11 s12 s13 s19 s18b

s1 s10 s9 s8 s7

s6 s2 s5 s4

s3 17

Part II — The exhibition A VISUAL LABOrATOrY

The exhibition had to be compatible with today's perspective to help the younger generations and AUDIENCES of the 21st century understand the significance of the invention of new shapes and forms, as well as the ingenuity of the techniques developed in the 18th century that sparked a genuine revolution in the concept of furnishing, whose repercussions can still be seen today. Thanks to the most advanced analytical techniques and clean, simple displays that bring out the creative force of these historical masterpieces, the exhibition forms a link between two different centuries and generations, connecting the culture of the past with modern points of view. Alongside this deliberately simple scenography that focuses visitors' attention on the

works, Jean Nouvel provides an insight into this unique collection of 17 th and 18th- century artefacts. His observations, thoughts and views accompany visitors through the exhibition, equipped with his ABC, a tool that is at the same time both pertient and impertinent.

DÉCOrALDÉCOrAL

Décoral is an interior desidesigngn fifirmrm specia specializinglizing in in t hthee desidesign,gn, production and roll- out ooff a widewide variety ofof events aallll overover thethe world.world.

ScenScenography:ography: VValéryaléry SanglierSanglier

this didactic and cultural exhibition has been designed as a "visual laboratory", in which Décoral have striven to produce a display that maximised the understanding and visibility of each exhibit. Each item of furniture has been raised up off the floor to optimise viewing, and is contrasted against a white background; visual effects, architects' drawings, reconstructions and films of investigations shed light on the process of design; magnifying glasses enhance certain details and images of the silhouettes reveal the creative spirit of the object. The exhibition offers the aesthetics of a laboratory-workshop-design studio. lighting also plays an important role. It evolves and adapts to the different works, both in colour and in value, and guarantees diversity as the visitor walks through the exhibition. complementing the vision of jean nouvel, there is signage in two forms: large white text against a grey background at the start of each section, and large labels with additional information. while the floor of the exhibition is neutral, the ceilings with their grand cornices of the Africa Rooms have been kept, and in some rooms the walls of the Palace have been integrated into the display. 18

CABINET-MAKING

This most important innovation in French furniture making in the 17 th century was the

development of cabinet-making. In the early 17 th century Flemish and German artisans imported veneering, in other words the technique of laying a thin sheet of wood over the structure of the furniture. The first material used in cabinet-making was ebony, giving rise to the French name for the craft, "ébénisterie" . New techniques like marquetry came soon after, followed by the use of new materials such as marble and mosaics of hard stone or gilt bronze, expanding the range of ornamentation.

SECTION 1 CABINET

Architectural and theatrical, a cabinet's ornamentation is the natural starting point when new ways to vary its appearance are sought. The cabinet was at the origin of cabinetmakers' work.

ConstructionConstruction Cabinet VVeneerseneers oror otherother mmaterialsaterials Paris, circa 1675 (whole piece); wouwouldld bebe usedused to cover thethe structure completelcompletely.y. Florence, 1664-1672 (stone inlaid panels) Cabinet: made of partially polychrome oak and resinous wood, VVeneereneer ebony and jacaranda veneer, tin, stained horn, hard stone inlay, ThThisis techniquetechnique uses uses another another gilt bronze, painted glass and stained glass in the body. Base: species of wood to cover the bbodyody ooff a piece ofof furniture.furniture. partially sculpted gilt polychrome oak. Veneer could be patterned H. 2.58; L. 1.92; W 0.60 m. (with geometricalgeometrical motifs uusingsing one or two species fofo Strasbourg, Musée des Arts décoratifs wood, whose grain served to create different effects)effects) or or iincludenclude marquetrmarquetryy (using(using This cabinet evokes the splendour and luxury of grand severaseverall species offo woowoodd toto ceremonial furniture that became popular during the reign of ccreatereate an image). Louis XIV. Though quite different in style from the highly Italianate CCabinetabinet dedesksk cabinets made by Domenico Cucci at the famed Gobelins visual A ddeskesk openeopenedd witwithh ddoors,oors, a flap or even drawers resting arts school in Paris during the same period, this Strasbourg piece on raiseraisedd legs.legs. is an eloquent illustration of the French blend of style used in Parisian cabinetry in the 1670s. 19

ANDRÉ CHARLES SECTION 2 BOULLE 1642-1732 ANDrÉ CHArLES BOULLE

The most famous cabinet- maker of his time, he was also André Charles Boulle, a cabinetmaker famous for his marquetery the first woodwork artisan to combining tortoiseshell obtain the status of Artist in and copper, created several types of furniture that became popular during the 18th century. He was th the 18 century. His renown also one of the pioneers in the use of gilt bronze in furniture. was such that he lent his name to the marquetry technique Traditionally covered with frieze (a heavy woollen fabric), writing tables gave way to desks known during his time simply with their own drawers and tops with a copper covering. Desks initially built with eight legs as "marquetry", that was nei- ther his creation nor unique to evolved into desks on four legs. his work, now known as "Buhl Towards the end of the reign of Louis XIV, cabinetmakers were principally producing marquetry". Already a recognised master commodes and flat-top desks. A descendant of the desk with eight legs, it had drawers added to it of the art by 1666, he was very all the way along its front. The first commodes also had inlaid tops, but this later gave way to marble quickly successful and in 1672 was officially qualified as "the slabs. King's cabinet-maker, chaser, gilder and sculpter" and was granted an appartment in the galleries of the Louvre, Commode alongside the greatest artists, André Charles Boulle painters and sculptors. Their company influenced Boulle, Paris, 1708. who instigated unprecedented Ebony veneer, tortoiseshell and brass inlay, gilt bronze, developments within French cabinet-making through the griotte marble. use of sculpture – gilt bronze H. 0.88; L. 1.31; W. 0.65 m ornements - and painting - inlaid paintings. He not Versailles, Musée National des Châteaux de Versailles et de only built furniture but also Trianon made objects of gilt bronze (girandoles, chandeliers, candle holders). His work is This piece from the chambers of Louis XIV at Trianon is the well known thanks to three earliest known commode. Its construction bears signs of the inventaries made respectively when he gave his company to trial and error that occured before it was finally completed. It appears to be a hybrid of two pieces of furniture built his four sons (1715), when he from two independent elements: a table placed over a bureau with its own set of legs. The completed work is an was victim fo a fire (1720) and upon his death (1732). The example of the era's taste for rich materials and contrasting colours, with the gold of gilt bronze, red of the griotte publication of illustrations marble top and the dark brown of the tortoiseshell veneers inlaid with copper alloy. The profile of the drawers - one of his furniture by Mariette after 1707 (Nouveaux desseins convex, the other concave - is a testimony to the artisan's mastery of veneering techniques and hints at the Rococo de meubles et ouvrages de style that would make great use of the interplay between curves and countercurves. marqueterie) also contributed to his renown.

Flat top desk with six legs André Charles Boulle

BuhlBuhl marmarquetryquetry Paris, circa 1715. Oak, ebony veneer, tortoiseshell and brass inlay. ThThisis refersrefers toto thethe techniquetechnique H. 0.81; L. 2.11; W. 1.00. ooff cutting fformsorms out ooff two superimposed veneers at the Château de Vaux-le-Vicomte same time, one lilight-colouredght-coloured anandd tthehe ototherher ddark-coloured.ark-coloured. ThThee light light motifs motifs are are inserted inserted This desk with its three drawers and four corner legs into the dark background and connected with stretchers to two supplementary, inset legs vice-versa. Today,Today, BuhlBuhl mar-mar- in the middle of each end illustrates an intermediate stage quetry is often used to refer to ininlayinglaying withwith tortoisestortoiseshellhell in the evolution of flat top desks. It reveals the link between the designs of the 1680s and 1690s with two anandd copper (or brass).brass). WWhilehile compartments and eight legs, and the models with four curved pieds de biche legs. This design was perfected by BBoulleoulle diddid notnot inventinvent thisthis comcombinationbination ofof materials,materials, hehe Boulle around 1710-1715, with drawings by Oppenordt, and became the template for French flat top desks for half a was perperhapshaps one ooff tthehe bbestest century. Boulle often used these stretchers in consoles and other types of desk. at using itit.. 20 SECTION 3 LArGE FUrNITUrE

during the reign of Louis XIV, large furniture items were also tall. In the 18th century, however, furnishings no longer grew vertically but horizontally, sometimes reaching extraordinary dimensions. A NEW INVENTION, the commode was a ceremonial furnishing that initially took pride of place in the bedroom, and then later in salons and studies as well. early on in the reign of Louis XV marquetry with multiple species of wood declined in popularity with the emergence of a preference for patterned veneer, a technique using only one or two species to create strictly geometrical patterns.

Double commode with drawers and vantail doors Paris, around 1730. Made of oak and conifer, rosewood veneer, curly walnut, red marble from Rance, gilt bronze. H. 0.840; L.2.820; W. 0.825 m. Paris, Musée des Arts décoratifs.

VantailVantail / vantauxvantaux The outline of this commode, as well as its patterned veneer and gilt bronze ornamentation is characteristic of This French term was another furnishings from the 1730s. The piece itself stands out for its exceptional size: nearly three metres long instead of the nnameame used fforor ffurnitureurniture ddoors,oors, in pparticulararticular on cabi-cabi- traditional one and a half for a commode. It stands on four legs capped with bronze bearclaw sabots and features netsnets,, commodes or corner powerful lines that enhance its lively form. The crossbow-shaped façade extends beyond the front legs, and the body cupcupboards.boards. contains corner cupboards with vaintail doors. The entire piece is covered with rectangular, diamond-patterned rosewood veneer panels accented by rich gilt-bronze embellishments arranged symmetrically. Its acanthus leaves, mirrors, bases, shells, scalloped borders and beaded chutes are also typical of the classical Regency style. Only the bearclaw sabots offer a glimpse of originality that is nevertheless suited to the furniture's unusual size.

Low Bookcase Antoine-Robert Gaudreaus and Jean-Henri Riesener, from a design by Sébastien- Antoine or Paul-Ambroise Slodtz Paris, 1744 and 1784 Made of oak with ebony and jacaranda veneer on the exterior, rosewood and cherry wood on the inside of the vaintail doors, with blue coloured horn, gilt bronze, marble from Rance. H. 1.265; L. 3.430; W. 0.795 m Paris, Ministère de la Marine, Service des collections du cabinet du chef d'état-major de la Marine.

This bookcase was made in 1744 by Gaudreaus for the private chamber of Louis XV (1710-1774) in the Palace of Versailles, where it remained until 1755. In 1784 Riesener extended it by two units at the request of Thierry de Ville d'Avray (1732-1792), the Steward of the Royal Furniture Store, for his official accommodation at Place Louis XV in Paris (now Place de la Concorde). 21 SECTION 4 THE OrIENT AND LACQUEr

Decorative-artsDecorative-arts pur-pur- Originally from China and Japan, lacquers on storage chests and fold screens were a source of veyorsveyors fascination in the West. Deprived of the raw materials needed for the creation of lacquer objects in InIn the French corporation Europe, Westeners tried to imitate it before adopting the Oriental lacquer techniques. system under the Ancien Working under art purveyors, Parisian cabinetmakers were able to adapt and sometimes bend Régime, artisans were for-for- bidden from manufacturinmanufacturingg Oriental lacquer to fit Occidental forms. Areas not covered by the lacquer panel were finished with or sesellinglling objectsobjects bbelongingelonging varnish ornamentation in the style of the Oriental version. to ototherher tratradede associations. ThThereere were were,, however however,, exceptions susuchch asas tthehe hhaber-aber- Commode of Marie Leszczinska, Bernard ddasheryashery tratradede association wwhichhich was was permitte permittedd to to se sellll II Vanrisenburgh (B.V.R.B.) the productsproducts of others (made Paris, 1737. Made of oak, fruitwood veneer, ffromrom fabricfabric andand haberdasheryhaberdashery Japanese lacquer, Vernis Martin, gilt bronze, products). Decorative-arts purveyors dealt in luxuryluxury marble from Antin (or Sarrancolin). iitemstems and works of art. TheyThey H. 0.850; L. 1.275; W. 0.610 m. proproducedduced nothingnothing themselves,themselves, but used the work of other Paris, Musée du Louvre. ttraderade associations.associations. DiderotDiderot ddescribedescribed them as “dealers“dealers iinn everything, doers of This commode owned by Marie Leszczinska nnothing"..othing".. was delivered to her by the art purveyor Thomas-Joachim Hébert in 1737 for her cabinet de retraite in the Château de Fontainebleau. It is without a doubt one of the most innovative pieces of furniture to be made during the transition to lacquer in the 18th century. It is the first known, properly documented furnishing to feature panels coated with Japanese lacquer, reputed to be much more complicated to reuse than Chinese lacquer. In this piece, B.V.R.B. overcame all technical and aesthetic difficulties and arrived at a solution that was brilliant to say the least and would not be improved upon in the 18th century. In the second half of the century, using such lacquers on non-flat surfaces was a risky proposition, not only because of the popularity of patterns in relief but also due to the hardness of the panels.

Commode Bernard II Vanrisenburgh (B.V.R.B.) (attributed to) Paris, 1730-1735. Built of fir, oak façades, walnut drawers, Coromandel lacquer, European varnish, gilt bronze. H. 0.825; L. 1.260; W. 0.545 m Sceaux, Musée de l’Ile-de-France

This commode is from the Cabinet de la Chine in the Château de Sceaux owned by the Duke of Maine, the legitimated son of Louis XIV and Madame de Montespan. This piece includes adapted panels of Oriental lacquer. An inscription in Chinese in the design refers to the leaves on the façade, which allow identification of two well-known depictions: theth 6 and 7th scenes from the Ten scenes of the West Lake of Hangzhou, a lake situated near the former capital of the Southern Song (China, 5th century). The French taste for the use of lacquer on the top is unique to the 18th century. 22 CharlesCharles CressentCressent SECTION 5 1685-1767 CHArLES CrESSENT Born in Amiens to a ffamilyamily of joiners and carpenters, CCharlesharles Cressent was an A sculptor by training, Charles Cressent, much like Boulle, worked from his own designs for a apprentice in his father’s workshop. He later moved to wealthy and enthusiastic clientele who appreciated the power and originality in his creations. Like Paris where, in 1714, he bbe-e- Boulle, he supplied models of his bronzeworks which, in some cases, were sculptures in their own ccameame a Master sculsculptor.ptor. In In the the meantime he had been assoasso-- right. The patterned veneer on his furniture was designed to complement the overall form and cciatediated withwith a young Parisian bring out the bronzework. Cressent also made grand ensembles, such as a bureau and file cabinet. ccabinetmaker,abinetmaker, Joseph Poitou (1680-1719). WWhenhen Poitou ddiedied prematurely,prematurely, Cressent Medallion cabinet marriemarriedd hishis widowwidow andand tooktook over hishis cacabinetrybinetry workshop.workshop. Charles Cressent HHisis worworkk attracteattractedd tthehe attenatten-- Paris, circa 1750. tion of the Duke of OrleansOrleans Body and drawer made of oak, amaranth veneer variegated with whwhoo accoaccordedrded him tthehe ttitleitle of “Ordinary“Ordinary Cabinet-Maker horizontal threads and satin-finish wood pattern accented with double for the Palaces of His RoRoyalyal threads of boxwood and ebony. HHighnessighness MonseiMonseigneurgneur le Duc d’Orleans”.d’Orleans”. CressentCressent H. 1.91; L. 1.10; W. 0.43 m. was in chchargearge o fof one one o fof t hthee Lisbon, Museu Calouste Gulbenkian. principal Parisian workshops oonn RRueue NNotre-Dame-des-Vic-otre-Dame-des-Vic- toire for 40 yyears,ears, where he The interior of this cabinet contains sixty-eight medallion pulls. One of ddesignedesigned furniturefurniture andand pro-pro- vividedded thethe waxwax modelsmodels forfor thethe Cressent's later works, it is also one of his greatest masterpieces. It uses bbonzesonzes producedproduced underunder hishis several of his best sculpted motifs (for example, busts of ancient generals management. HHee consequentconsequent-- and scenes of children minting coins) with refined veneer patterns that llyy had several quarrels with bronze workers and gilders. evoke the art of upholstery (contrasting matte backgrounds with shiny ThThanksanks toto hishis rereputation,putation, hishis strips of satin finish). Medallion cabinets at the time typically took the cclientelelientele included the Elector of Bavaria and the KinKingg of form of small boxes, but with this piece Cressent chose to create an Portugal as well as ministers, original form that combined a last-century cabinet and base with a seseniornior officofficialsials a nandd fin financiers.anciers. LiLikeke BouBoulle,lle, hehe soldsold bothboth ceremonial cupboard much like the ones Boulle produced around 1700. ffurnitureurniture andand bronzebronze fur-fur- nnishingsishings anandd cocollectedllected bbonzesonzes and paintings. As business Pair of wood-panelled corner cupboards sslowed,lowed, hehe put hhisis stostockck an dand ccollectionsollections up for auction on Charles Cressent tthreehree occasions: in 11749,749, 11757757 Paris, circa 1740. and 11765.765. He wrote the text for his catalogues himself. Made of oak with five oak parquetry doors on each cupboard, satin-finish amaranth veneer; gilt bronze decoration. H. 1.920; L. 3.320; W. 0.394 m Los Angeles, J. Paul Getty Museum

The faces of Apollo and Diana feature at the top of the two outer, convex doors, with corresponding trophies hanging underneath. The intermediate doors are decorated with allegories from the liberal arts. At the top of the central convex door there is a mask of Bacchus with the corresponding trophy. The idea of lining three walls of a room with exquisite cabinetry work, forming an almost uninterrupted feature - broken only by the fireplace or doors - is evocative of André-Charles Boulle. The doors of this cupboard were restored by the house of André in 1965. 23 SECTION 6 CUrVES rococorococo style Taking inspiration from the mineral and aquatic worlds, or even from the exotic or fantastical, the Louis XV style, or Rococo style, is often described as being supple, fluid and refined. Following on from the Regency stystyle,le, t hthee RococoRococo Its defining characteristic is the skilful integration of curves and countercurves into both the forms stystylele (1730(1730 -- 1745/50)1745/50) waswas and the linearity of the decoration. Curved furniture was accompanied by bronzes with lavish one ooff tthehe more flfleetingeeting movements of the Louis contours. XV stystyle.le. ItIt hhadad tthreehree mainmain characteristics: systematic the pioneers of this style had limitless imagination use ooff curvescurves,, excessive use , creating a universe that was almost ooff ddecorationecoration anand,d, especially,especially, extravagant. At the same time, natural depictions of flowers were never fully abandoned, and can ththee use ooff asasymmetricymmetric fformsorms ttoo the point of deformindeformingg often be found in marquetry or bronze work. tthehe elements of nature that ininspiredspired tthehe worwork.k. File cabinet owned by Machault d’Arnouville, Bernard II Vanrisenburgh (B.V.R.B.) Paris, circa 1745-1749. Made of oak, rosewood veneer and floral marquetry, centre leaf opens to reveal seven solid-rosewood drawers, two doors on the side; gilt bronze decoration: panel frames decorated with Rococo and leaf embellishments; Brèche d’Alep marble. H. 1.05; L. 1.65; W. 0.49 m Private collection

This piece "masters" the curve so characteristic of the Louis XV style with its bronze frames spiralling over the surface of the façade, working above all for the piece's overall balance. The cabinet's purpose is not clear. One theory is that it may have been used to store shells or minerals, although the inventory made after the death of Machault d’Arnouville made no mention of any shells, natural science objects or minerals in the library where this piece was kept. Another theory is that the most valuable of the 161 folios in the inventory - out of the thousand or so volumes listed - may have been kept in the side compartments of the armoire.

Commode owned by the heir apparent at Choisy Jean Pierre Latz and Jean-François Œben P a r i s 1 7 5 6 Made of oak, satin-finish veneer, amaranth, rosewood, sycamore, ebony, laburnum, chiselled and gilt bronze, drawers lined with blue silk, marble top. H. 0.900; L. 1.370; W. 0.595 m Private collection

Pioneers of the Louis XV style had boundless imagination, and their creations bordered on extravagance, although flower-based undistorted decoration was never fully abandonned. Although this commode has no stamp, it is most probably the work of the cabinetmakers Latz and Œben. Is this furniture the fruit of a partnership between the two workshops of Latz and Œben? Or did Œben buy the structure and bronzes from Latz's workshop and then decorate them with his own marquetry? 24 SECTION 7 WrITING

Craftsment developed diverse, sometimes highly complex mechanisms to allow people to write standing up, seated on a chair, armchair or sofa, or even lying down, and to expand the functionality of desks to include other purposes such as storage and reading. Writing at the time required not only paper, but also a place to store the pen and sand to quickly dry fresh ink. Writing desks always had three items: an inkwell, sander and sponge-holder.

Bourgogne table Jean-François Œben Paris, circa 1763 Made of oak, satin-finish veneer of jacaranda, sycamore and amaranth, gilt bronze, red griotte marble. H. 0.919; total H. 1.430; L. 0.705 ; W 0.515 m Paris, Musée du Louvre

The Bourgogne table, named in honour of the Duc de Bourgogne (1751-1760), the eldest son of the French Dauphin, is the most complicated of Œben's works. It includes a semi- commode with a cupboard and drawers, a marble en-cas table and a folding secretary desk. It also features a glass-fronted bookcase, bed-table and prie-Dieu. The bookcase can be removed and put back by means of chains, pivots and cogs, controlled by inserting a crank handle into the right hand side of the table. The bookcase's curved sides equally slide aside to reveal two small niches each containing two round boxes. The legs of the bed-table unfold.

Writing table Bernard II Vanrisamburgh (BVRB) (attributed to) Paris, circa 1745-1749 Made of oak and fruitwood, with two drawers with fruitwood fronts, walnut, oak, rosewood veneer, marquetry of mother-of-pearl and red-coloured horn on a background of green-coloured horn, gilt bronze. H. 0.705; L. 0.991; W. 0.521 m. San Francisco, Fine Arts Museums

This piece has unusual horn and mother-of-pearl marquetry, similar to that found on toiletry chests and cases, chessboards and other valuable decorative-arts purveyors' items, for whom BVRB worked throughout his career. The idea here is evident: apply precious techniques originally only used for small objects to furnishings of a slightly larger scale.

Mechanical "dual-purpose" table Jean François Œben (attributed to) Paris, circa 1760 Made of oak, amaranth veneer, polychrome wood marquetry against a holly wood background, gilt bronze. H. 0.67; L. 0.70 ; W. 0.35 m Paris, Musée Cognacq-Jay

Œben designed this style of table, sometimes called a "dual-purpose table", as a writing desk and dressing table. It is opened by a complex mechanism based on a spring made of two curved slats positioned in the opposite direction to the movement desired. A key triggers their release, propelling the drawer outwards. Its projection is slowed by a cog that pulls back the top lid at the same time, and whose motion prevents the table tipping forwards and also reveals the table's inner compartments. The unique marquetry decoration reproduces patterns on Indian silks that, although highly prized, were prohibited at the time. 25 SECTION 8 THE KING'S BUrEAU

Louis XV sometimes needed to write letters in private, and keep his own letters hidden away from others. The roll-top desk was created for this purpose. A dual-faced clock with a single pendulum on top of the desk allowed both the King and his visitor to see the time. The inkwells could be re-filled from the exterior without having to open the desk thanks to discreet drawers on the sides. A single key unlocked the desk, released the drawers and provided access to the secret compartments.

King's bureau Jean-François Œben and Jean-Henri Riesener Paris, 1760-1769 Made of oak, satin-finish, amaranth and rosewood veneer (mainly), gilt bronze, porcelain. H. 1.473; L. 1.925; W. 1.050 m Versailles, Musée National des Châteaux de Versailles et de Trianon

Crafted by Jean-François Œben and Jean-Henri Riesener, Louis XV's roll-top desk is the most iconic piece of 18th -century French furniture. Its grandeur and the beauty of its marquetry and bronzes are remarkable, and the desk is highly complex and beautifully made. Started in 1760 by Jean-François Œben, a master marquetry artisan renowned for his creations of small mechanized furniture, the desk was finally delivered nine years later in 1769 by his student Jean-Henri Riesener. Every detail required a great deal of skill. A mechanical marvel, the desk contained a complex system of springs and counterweights that opened the roll-top lid and all of the drawers with a simple quarter turn of the key. The oval roll-top was composed of seven articulated slats veneered with jacaranda, sycamore and mahogany. Its production required craftsmen from fourteen disciplines including cabinetry, bronze-working, chasing, gilding and clock- making. The bronze figures were cast and carved by Louis-Barthélémy Hervieu, based on models by Jean-Claude Duplessis. 26 SECTION 9 COLOUr

the 18th-century marquetry works have almost all lost their initial colours, the vividness and VernisVernis MartinMartin hues of which would astound us if they were still present. Different techniques GGenericeneric name for the varnish enabled cabinetmakers to produce a wide variety of coloured veneer wood ddevelopedeveloped byby thethe Martin including blue, green, red and grey, but which by now have all faded to orangey hues. Other brothers to imitate Oriental llacquer,acquer, whichwhich waswas impossiimpossibleble materials such as porcelain, lacquer and the famous vernis Martin, however, have kept their to reproreproduceduce outsioutsidede ooff Asia original tone and enable us to appreciate the intensity and harmony of the former colours, because it required a specific raw material sourced from testifying to the popularity of polychromatic furniture. the sap of a treetree.. Commode of the Comtesse de Mailly at the Château de Choisy Matthieu Criaerd Paris, 1742. Made of oak, fruitwood veneer, vernis Martin, silvered bronze, Turkey Blue Marble. H. 0. 850; L. 1.320; W. 0.635 m. Paris, Musée du Louvre.

A one-of-a-kind piece, this commode stands on curved legs and is coated with blue and white vernis Martin designed to mimic Oriental lacquer. The "Chinese-style" Rococo décor introduces an air of refinement. With its multiple colours and Asian-inspired motifs applied using Oriental techniques, the bureau demonstrates the popularity of exoticism and shows how European décor was conceived at the time. The silvered bronze ornamentation, consisting of chutes along the ridges of the legs and openwork sabots, are characteristic of Criaerd's work.

Commode of Mademoiselle de Sens, Bernard II Vanrisamburgh (B.V.R.B.) Paris, circa 1760 Made of oak, thuja veneer on the outside, rosewood veneer on the inside (inside and edges of the doors, shelf edges), porcelain from Sèvres, gilt bronze, red griotte marble. H. 0.89; L. 1.43; W.0.54 m Private collection

It was the decorative-arts purveyor Simon Philippe Poirier's idea to use porcelain to decorate furniture in the late 1750s. His porcelain came from the new production in Sèvres and he consulted B.V.R.B. on the construction of the furniture. This commode with its two folding vantail doors and off-centre keyhole is adorned with ninety plaques of porcelain from Sèvres, embedded in the body of the piece. These plaques are held in place by interlacing bronze mouldings with roses at the intersections. 27 SECTION 10 MATErIALS

The furniture of the past has traditionally been associated with one fundamental material: wood. However, designers had a desire to innovate and surprise, and the use of different materials led to the development of new shapes and veneering techniques. Manufactured materials such as porcelain, hard stone and polished metal, or unusual materials such as straw, lead and steel enabled cabinetmakers to produce more varied designs and to satisfy their clients in search of modernity and originality.

Varnished sheet metal commode Pierre Macret Paris, circa 1770 Made of oak and pine, sheet metal, gilt bronze, white veined marble. H. 0.895; L.1.363; W.0.623 m Versailles, Musée National des Châteaux de Versailles et de Trianon.

This commode was delivered to Marie-Antoinette, at the time still heir apparent. It is evidence of the young princess's curiosity, with her taste for unusual furnishings. There were two manufactuerers of varnished sheet metal in Paris at the time: the Veuve Samousseau and the Petite Pologne. Pierre Macret, having recently become an arts purveyor although his productions more closely resembled cabinet making, tried out the technique, but the few furnishings still in existence show its limited success.

Cabinet desk Martin Carlin Paris, circa 1780. Made of oak, mosaic of marble and hard stone on slate, aventurine, ebony, rosewood and amaranth veneer, gilt bronze, brocatelle marble from Spain. H. 1.185; L. 0.885; W. 0.425 m Paris, Musée du Louvre

This cabinet is based on a Martin Carlin model from the early 1770s which was generally decorated with porcelain from Sèvres. The piece is one of the rare examples of its kind to be adorned with panels of pietra dura. Here they have been very skillfully mounted. The four plaques on the door probably came from the same Florentine cabinet, dismantled upon the orders of an arts-purveyor, most likely Dominique Daguerre. Although some Florentine cabinets were imported to Paris during the second half of the 18th century, it is almost certain that a small number of furnishings decorated with similar panels could already be found in France from the late 17th century. 28 SECTION 11 "GrEEK STYLE"

After the extravagance of the rococo style, there was a change in taste towards the middle of the 18th century. A new liking for the antique and a nostalgia of the "great century" of Louis XIV led to the development of another aesthetic, with designs drawing inspiration from the Louis XIV era. One of the outcomes of this change was the smoothing out of curved forms into straight lines. The "Greek" style of furniture was started by a trip to Italy by the Marquis de Marigny, organized in 1749 by his sister, the Marquise de Pompadour. Jean-François Œben designed the commode that came to be known as the "Transition" style: the body was linear while the legs retained their curves.

Greek commode Jean-François Œben Paris, circa 1760-1763 Made of oak, front made of solid mohogany, thick mahogany veneer, red marble (from Mayenne). H. 0.84; L. 1.32; W. 0.56 m. Private collection.

This type of commode was listed in the posthumous inventory of the Marquise de Pompadour. Such commodes were mostly made of mahogany, which was relatively new at the time. In this case Madame de Pompadour ordered it directly from Œben. In 1749, the Marquise had sent her brother, the Marquis de Marigny on an educational trip to Italy, accompanied by the architect Soufflot among others. The Greek style became the new, more moderate fashion after the Rococo style. The straight line regined its popularity. 29 SECTION 12 DESIGN AND OrNAMENTATION

TheThe LouisLouis XVIXVI stylestyle outlines and shapes evolved Over the course of the century. Straight lines were adorned with gilt bronze decoration with varying degrees of lavihsness, and the use of veneer made from a TheThe Louis Louis XIV XIV style style is is cha -cha- racterised by the shape and single species of wood (generally mahogany) became more and more popular. decorationdecoration of its furniture,furniture, At the same time, bronze decoration revealed hints of sumptuously reinterpreted designs of the with a preference for straight past. lines, but without completelcompletelyy excluding curvescurves.. Armoire base section (from a pair) Adam Weisweiler Paris, circa 1785-1790 Made of oak, ebony and mahogany veneer, Japanese lacquer, gilt bronze, brocatelle marble from Spain. H. 0.950; L. 0.605; W. 0.380 m Paris, Musée du Louvre, Grog-Carven donation

Jean-HenriJean-Henri riesenerriesener 1734-18061734-1806 This furniture shows the evolution of neoclassicism into the arabesque style at the end of the 1760s. The corner pillars constructed of two superimposed Born in Gladbeck (Westpha(Westpha-- lia), Riesener came to Paris columns are classic examples of this style. The well balanced decoration adds arounaroundd tthehe age ooff 20 anandd harmony to this piece designed for a living space, and the particularly started an apprenticeshipppa renticeship witwithh JeanJean Francois OEben.OEben. impressive frieze along the top resembles golden lace, accentuated by the black When OEben died in 11763,763, he ebony behind that covers the width of the drawer on top of the columns. tootookk over thethe workshopworkshop on behalf of his widow, whom he Weisweiler curved the corners of this drawer very slightly, ingeniously harmonising it with the rounded shape of the married in 1767. The following columns. year he became a Master of tthehe ArtArt aandnd cocontinuedntinued to use his former master’s workshoworkshopp JEAN-HENrI rIESENEr aandnd accommodationaccommodation at tthehe AArsenalrsenal until at least 1798. When Gilles JoubertJoubert retired THANKS TO HIS INFLUENCE, finishes in marquetry attained an even higher standard. Like his iinn 1774,1774, hehe was mamadede CaCabi-bi- nnet-Makeret-Maker to the KinKingg and predecessors Boulle and Cressent, Jean-Henri Riesener designed his own bronzes which were ccontributedontributed a consiconsiderablederable sometimes extremely grand. In general his furniture was fairly angular but was nonetheless nnumberumber ofof worksworks incorporaincorpora-- ting all aspects of cabinetry to expressive. tthehe RoyalRoyal Furniture Treasury. From 1785 hehe startestartedd toto lloseose favour with the Treasury, but Bureau in the Hameau de Trianon hihiss workwork waswas nonethelessnonetheless Paris, circa 1785-1788 appreciateappreciatedd byby thethe Queen forfor a certain time. However, his Made of oak, amaranth, stained sycomore, gilt bronze ccreationsreations werewere lessless andand lessless in H. 0.760; L. 1.105; W. 0.625 m llineine withwith contemporary tastes and were ggraduallyradually replaced Versailles, Musée National des Châteaux de Versailles bbyy worworksks bbyy ototherher artisans. et de Trianon HHisis businessbusiness was aalsolso hhitit hhardard by the Revolution. Riesener’s work was in ggeneraleneral fairlfairlyy Although this bureau has no stamp, its style classifies it anguangular,lar, butbut was nonethelessnonetheless without doubt amongst Riesener's works. The lettres CT expressive. ThThee decoration decoration cocoversvers aallll ofof thethe LouisLouis XIV marked beneath a crown prove that is was made for the Petit stystyle:le: initiainitiallylly consistingconsisting fo of Trianon, which at the time was the Queen's private residence. The number 84 painted in ink corresponds to one of the marquetrmarquetryy panels influenced by Oebe, which later gave rooms in the Queen's house in the hamlet dating from 1784, and whose furnishings date from 1785-1788 and later. The way to singsingle-woodle-wood veneer. lavishness and refinement of the furnishings contrast starkly with the feigned rusticity of the Hamlet's houses. After HHisis furniture was frequently adorned with hihigh-qualitygh-quality 1785, the Royal Furniture Treasury ceased to use Riesener, who nonethless never lost the Queen's favour, and his bbronzesronzes ddesignedesigned bbyy tthehe arti-arti- designs became plainer and simpler. sasann himself.himself. 30 SECTION 13 MONUMENTALITY AND STrAIGHT LINES exceptional Commissions for large works may have required input from architects, drawing upon knowledge from the field of architecture.

Commode for Marie-Antoinette's grand cabinet at Fontainebleau Guillaume Benneman under the direction of Jean Hauré Paris, 1786. Mahogany, porcelain, gilt bronze, white marble. H. 0.96; L. 1.82 ; W. 0.75 m. Fontainebleau, Musée National du Château.

This commode is part of a well-known pair designed for Marie-Antoinette's grand cabinet at the Château de Compiègne. The two commodes were adapted and finally placed in the Queen's grand cabinet at Fontainebleau.

MECHANISMS

The demand for new functions and multipurpose furniture obliged cabinetmakers to design ingenious, complicated, precise mechanisms that led to the creation of multifunctional tables, roll- top desks and other pieces of furniture manipulated by crank handles, keys or cleverly hidden buttons incorporated into the structure of the furniture. The development of mechanical furniture was taken to great lengths by Jean-François Œben (the King's CabinetMaker and Mechanic), Jean-Henri Riesener and David Roentgen.

Mechanical Roll-top desk David Roentgen Circa 1781. Made of oak, mahogany veneer, gilt bronze, steel. H. 1.48; L. 1.49; W. 0.83 m. Versailles, Musée National des Châteaux de Versailles et de Trianon

This roll-top desk is entirely veneered with mahogany and decorated with gilt bronze in a purely classical style. It stands on eight tapered legs. Impeccable cabinet work is combined with precise, complex mechanisms. The desk is a veritable safe: opening the the rigid roll-top and the many drawers and compartments requires complete knowledge of the varied secrets embedded into the desk by its maker. Opening the roll-top unlocks three differently sized compartments flanked by Doric gilt bronze columns topped with a triglyph frieze. Above, the main face of the central compartment features a bronze medallion with a profile of Louis XVI, placed here by the bronzemaker Denière in 1835 and suggesting a royal provenance. Little is known about the previous medallion it replaced, which depicted a profile from aniquity. The entirety of the gilt bronze décor was found to be the work of the Parisian bronzier François Rémond (around 1745‐1812). 31 PUrITY OF LINES

From the 1780s, straight lines became increasingly popular, leading to the creation of furniture with very pure designs. As bronze decoration became more discreet, the linearity of the furniture was emphasised by the grain of the veneer wood.

Table Paris, circa 1780. Made of oak, strengthened with walnut, varnished metal, gilt bronze, antique green marble. H. 0.790; L. 0.970; W. 0.515 m. Paris, Musée du Petit Palais, Musée des Beaux-Arts de la Ville de Paris

A new style arose in the mid-to-late 1770s. Tables and consoles were built using a slab of ancient or precious marble, resting proudly on legs of marble, cabinetry or even metal, as seen in this table. Its four tapered and channelled legs are columns ending in lotiform sabots atop a slightly flattened sphere; at the top of the legs, the elegant capitals are scultped in the Composite Ionic order. The apron above them has four connecting corner dice decorated on the two visible faces with a carved disk featuring a central flower and encircled by a cord. The four edges of the apron are also decorated with a green-varnished metal, matching the table's antique green marble top. On the two longer sides, a frieze of ivy creeper extends out from the central detail of a female face, all in gilt bronze. The two shorter sides feature an ivy tendril, also in gilt bronze.

Commode from the private chamber of Louis XVI at Saint-Cloud Adam Weisweiler (attributed to) Paris, 1788 Mahogany, ebony, gilt bronze, white marble H. 0.90; L. 1.45; W. 0.60 m Compiègne, Musée National du Château

This item is the perfect example of the evolution of Louis XVI commodes. With the exception of the frieze on the drawers, the gilt bronzes markedly highlight the structure and sections of the commode. Although it has no stamp, its form with the division of the façade into three doors framed by fluted colums strongly suggests that it was made by Adam Weisweiler, one of the principal cabinetmakers for the purveyor Daguerre. Moreover, the modern appearance of the commode prevented it from being confiscated during the Revolution, although it was included in the Empress Joséphine's chamber at the Tuileries, and then Marie-Louise's chamber at Compiègne thanks to its high quality bronze chasing and the undeniable beauty of the mahogany. 32

JOINErY - THE CHAIr

Unlike cabinetry, furniture made by joiners did not use wood veneers or, by extension, veneer in any other material (such as lacquer, porcelain, hard stones etc.). Woodworked furniture consisted mainly of chairs, beds and consoles scultped either simply or lavishly. Equally, they were sometimes painted, gilded or left plain. The design was then finished by the upholsterer, who filled and covered it with a wide variety of materials such as silk, tapestry, leather and cane.

SECTION 14 CHAIrS

Almost all chairs made during the 17 th century StretchersStretchers had stretchers connecting the legs to strengthen the structure. Advances in manufacturing techniques later enabled joiners to get rid of TheseThese are are the the ties ties in in an an X Xor or this restriction. H shape connecting the four chchairair le legs.gs. At the same time, they modified the position of the chair arm which was originally placed directly above the front legs: it was moved backwards before regaining its initial position from the Armrests / arms / neoclassical era. Louis XV-style chairs had curved chair arms to match the legs, whereas those in chair arm suppsupportort the Louis XVI style were straight. AAnn armarmchairchair is is a atype type o fof chchair:air: a aseat seat on on four four legs legs with with a backrest,backrest, on on either either side side o fof which are two arms. TheseThese Pierre Crozat's armchair. aarmsrms consistconsist o fof a ah ohorizontalrizontal Paris, circa 1710-1720 armrest andand aa chairchair arm arm support, wwhichhich is is t hthee vertica verticall Gilt walnut, red and tan Morocco leather, red and white reps part connectingconnecting thethe armrestarmrest lines. H. 1.11; L. 0.69; W. 0.56 m iitselftself to thethe apron. Paris, Musée du Louvre

Shown in its original condition, this armchair illustrates the transition from the linear Louis XIV chair to the Louis XV chair. The arms are positioned directly above the legs, and the embellishments – which include acanthus, shells, gadrooning, ova and latticework – are still in the Louis XIV style. However, the lines are rounder, stretchers are no longer used, and the piece as a whole is much more decorative, with an abundance of masterful sculpting that features openwork, beautiful gilding and recutting gesso. The two-tone red and tan Morocco leather upholstery, separated by red and white lines, also plays an important role, since the chair is significant in being one of the few surviving examples of onamentation in antique leather. 33 SECTION 15 CUrVES AND COMFOrT

The development of the full curve characteristic of chairs from the Louis XV period went hand in hand with greater comfort. Chairs generally became lower and especially deeper. The arms were more curved and the backrests had more defined countours.

Armchair Louis Cresson (attributed to) Paris, circa 1735. Beech and walnut, modern velvet. H. 1.00; L. 0.83; W. 0.96 m Paris, Musée des Arts Décoratifs

In the first half of the 18th century Parisian joiners were particularly inventive when it came to chairs, creating pieces suitable for multiple purposes, transforming shapes and adopting the new trend of sculpted décor on wood panels through the use of highly skilled sculpted ornamentation. This voluminous armchair stands on beautifully curved squat legs and features a deep, broad seat with cushion and high back, elements that contributed to the comfort so sought after at the time, without quite turning it into a bergères or duchess chair. The chair's proportions are large but well-balanced, and likewise its embellishments find equilibrium between Rococo and naturalist styles, neither ostentatious nor excessive. This low-seated chair is a prime example of early Rococo-style designs.

Queen's armchair and cabriolet armchair Jean-Baptiste Boulard Paris, circa 1760 Painted beech Queen's armchair: H. 0.95; L. 0.65; W. 0.68 m Cabriolet armchair: H. 0.86; L. 0.59; W. 0.62 m Versailles, Musée National des Châteaux de Versailles et de Trianon

The "Queen's amchair" has a flat backrest, whereas the "cabriolet armchair" designed during the 18th century has a curved back. These two seats are part of a collection comprising eight Queen's armchairs, four cabriolet armchairs, six Queen's chairs including two with stretchers, a screen and a sofa. Each series within this collection is distinguished by slight variations in the decoration, suggesting that they were designed to be used together. In spite of the apparent simplicity of the carving, these chairs were difficult to make because their form permitted no room for error. They are typical of the early 1760s with their large, undulating shape and simple, rounded backrest. 34 PErFECTIONS AND NEW DESIGNS

ChairsChairs with fixed Throughout the 18th century it was customary to have two sets of furnishings that upholstery / chachas-s- ssisis chairschairs included wall tapestries and chairs in order to provide different furnishings for summer and winter. However, this required either having two sets of furnishings used alternately, or having the These t wtwoo te termsrms r ereferfer to to upholstery removed and a new upholstery added to the same set in order to use it in both seasons. the way in which the chairs were upholstered.Th eThe straps, straps, The tradition gradually declined over the course of the century. stustuffingffing and and cover cover (fabric (fabric The invention of the chassis chair whose garniture and upholstery were fixed to individual positioned over the top) of chchairsairs with with fixed fixed upholster upholsteryy chassis, enabled furnishings to be changed easily according to the season, and also reduced the cost was nailed to the structurestructure,, of chairs. whereas the garnituregarniture and uupholsterypholstery of of chassis chassis chairs chairs was nailed to an independent chchassisassis that that could could be be removed removed anandd repreplacedlaced into thethe frameframe of the seat and backrest.backrest. ggarniturearniture à châssis.

Queen's chassis armchair (one of a pair) Jean Boucault Paris, circa 1758. Gilt beech. H. 1.07; L. 0.68 ; W. 0.59 m Private collection

This piece is one of the greatest works by Jean Boucault, one of the most celebrated chair-makers of the 18th century. Its notably fragmented shape and staccato sinuosity is typical of the "symmetrical Rococo" style of the 1750s. A sharp structure is countered by playful, contrasting carvings and sculpted projections in the wood. The desire to break up a chair's lines can be seen in the contemporary works by the chair-maker Heurtaut. The famous spiral scrolls characteristic of Heurtaut's works can be seen here on the connector piece between the seat and the backrest. Also notable is the particularly unusual nervy, staccato form of the arm support, the supple lines of the front legs, the trompe-l’œil flower on a bar above the front legs, and the extraordinary, impetous moulding of the connector piece between the armrest and crossbar. 35 SECTION 16 LArGE CHAIrS

Ever since the middle ages, chairs had been valued solely in terms of the fabric used to cover it. Without this fabric, the object was worthless. Towards the end of the reign of Louis XIV, joiners used high quality production and brilliant carving of the wood to create even more ornamental and extremely lavish chairs. Painters and gilders also played an important role. Now, even without the fabric, such furniture retains its intrinsic value.

Queen's chassis armchair, "regular" chair from the Ducal Palace of Colorno Nicolas-Quinibert Foliot, probably from a design by Pierre Contant d’Ivry Paris, circa 1749. Gilt oak. H. 1.10; L. 0.75; W. 0.67 m Saint-Petersburg, Hermitage Museum

An ingenious work in terms of composition and sculpture, this chair is also an example of the Parisian style created for export, an over-the-top demonstration of French skill and ingenuity. The armchair was part of the furniture belonging to Louise Elisabeth de France, the daughter of Louis XV, and was made in Paris for her residence in Colorno (Italy). It still has its original fabric and passementerie.

"Regular" Queen's armchair Nicolas or Jean-Baptiste Tilliard Paris, circa 1745 Gilt beech. H. 1.13; L. 0.74 ; W. 0.60 m Versailles, Musée National des Châteaux de Versailles et de Trianon

This armchair is an excellent example of work by Parisian chair- makers at the height of the Rococo period (1730-1745/50). Although short, this era was brimming with energy. Wholly asymmetrical, chairs were covered with carvings. This piece has swirly and aligned shells at the top and base of the backrest; a shell at the front of the seat pulling the crossbar downwards and making it, too, asymmetrical, and a fine join between the chair arm and the rest of the chassis, with the horizontal armrest distinguished by a carved collection of stones and shells. In later years chair legs became finer than the squat, fleshy examples here. 36 SECTION 17 FUrNITUrE SETS

The notion of meubles ("furnishings") originated in the 17 th century. It referred to a collection of furniture of the same design and covered with the same fabric, and was soon adopted in all upper-class homes. Sofas, confidantes, armchairs, chairs, stools, folding chairs and screens were designed to create stylistically coherent ensembles. Consoles were also sometimes decorated in the same style as the chairs. The largest sets for royal dwellings comprised around ninety items of furniture.

NicolasNicolas HeurtautHeurtaut Pair of Queen's armchairs (from a set of six) and a Queen's sofa with two moveable confidante chairs 1720-17711720-1771 Nicolas Heurtaut, probably designed by Pierre Contant d’Ivry

TheThe son son of of Claude Claude Heurtaut Heurtaut,, Paris, circa 1757. a sculptor specialisingspecialising inin Beech painted blue-green chairs,chairs, Heurtaut Heurtaut marrie marriedd tthehe ddaughteraughter of the jjoineroiner GuiGuil-l- Armchair: H. 0.96; L. 0.66; W. 0.59 m, llaumeaume Antoine Destrumel.Destrumel. Sofa: H. 1.14; L. 1.95; W. 0.70 m, HHee became Master SculptorSculptor at thethe AcaAcademiedemie dede Saint-Luc Confidante chair: H. 1.06; L. 0.63; W. 0.70 m, iinn 11742.742. From 11742742 to 17531753 he Sofa and confidante chairs: L. 3.30 m. worworkedked as a chchairair scu sculptorlptor onon Private collection Rue ddee CClerylery forfor thethe joiners TTilliard,illiard, Sene andand mostl ilikelykely AAvissevisse anandd Saint-Georges. These seats are part of a larger collection probably made for Martial Louis de Beaupoil de Sainte-Aulaire, bishop of IInn 11753753 he became a Master Joiner. He movemovedd to Rue ddee Poitiers. This collection has several new design features, notably the powerful sculpted curve between the armrest BourBourbonbon (now Rue dd’Abou-’Abou- support and the horizontal armrest itself, as well as the large spiral scroll connecting the backrest and seat, evoking kirkir)) and worked as a Master ScuSculptorlptor andand Joiner ffromrom 1753 the scroll at the base of the legs. In terms of the sofa and its confidante chairs (moveable corner chairs), the to 11771.771. confidantes' form had to correspond exactly to that of the sofa they pair up with. For example, the outer legs of the sofa and those of the confidante chairs only feature half the sculpted decoration, and the same is true of the "coup de fouet" on the armrest support. The original lampas fabric with its pineapple design has been deliberately re-woven in the original style. 37 SECTIONS 18 AND 18BIS TrANSITION AND LOUIS XVI

THE rETUrN OF STrAIGHT LINES

Towards the end of Louis XV's reign, a backlash against the excessively curved styles resulted in a return to straighter lines, heralding the Louis XVI style. The abandonment of curves was nevertheless a gradual process, and many chairs made in the 1760s and 1770s combined the new style with various characteristics from the former period. Decoration tended towards a more naturalist representation of plant life, while still retaining features from older designs.

GeorgesGeorges JacobJacob Armchair from Louis XVI's Salon des Jeux at Saint-Cloud 1739-18141739-1814 Georges Jacob ThereThere was was nothing nothing to to suggest suggest Paris, 1788. that GeorgesGeorges Jacob, born in Gilt wood. 1739 to farmersfarmers in Burgundy,Burgundy, would become the first joiner H. 1.00; L. 0.69; W. 0.60 m. of his generation! At the age Paris, Musée du Louvre of sixteensixteen he wentwent to ParisParis anandd ddidid an apprenticesapprenticeshiphip to becobecomeme a MMasteraster in in W oodWood This armchair is part of the furniture commissioned for Louis XVI's CCarvingarving in a workshopworkshop wwhosehose MMasteraster rremainsemains u nunknown.known. Salon des Jeux at the Château de Saint-Cloud. The ensemble consisted IInn 17651765 he became a Master of two sofas, two bergères chairs, twenty-two armchairs, twenty-four Joiner and moved briefly to Rue ddee CClerylery beforebefore goinggoing to chairs, six voyeuses chairs, four footstools, a screen and a folding Rue Meslay, where his worksworks-- screen. Part of the collection disappeared after the Revolution, and hhopsops ggrewrew andand remaineremainedd untiuntill eight chairs are still missing from the set here. This armchair is typical 1847. Jacob was undeniablundeniablyy reresponsiblesponsible forfor allall thethe LouisLouis of Louis XVI decoration, judiciously apportioned between the XVI-stXVI-styleyle chair’schair’s eleelegance,gance, various components of the chair and accentuating its structure. It is establishinestablishingg a afine fine balance balance between the different ppartsarts a prime example of the Louis XVI style and does justice to its and usinusingg carvincarvingsgs that fefeww creator, Georges Jacob, one of the greatest joiners of his time. ccouldould equal.equal. He was one ofof the first j oinersjoiners to to use use maho maho-- gganyany anandd to tatakeke inspiration ffromrom EngEnglishlish ddesigns.esigns. He iinnovatednnovated with shape and fformorm earlyearly on in tthehe 18t18thh ccentury,entury, creating various boldbold ddesignsesigns that led to the crea-crea- tion ofof Empire chairs.chairs. AtAt tthehe enendd ooff tthehe RevoRevolutionlution JacobJacob retired, leaving his workshops to hhisis two sons. Having ddiversifiediversified production, he had iincorporatedncorporated the manufacture ooff cabinetrycabinetry items into hishis workshops. When his eldest son died (1803), he joined up witwithh hishis youngest son anandd t hthee two workedworked togethertogether untiluntil hishis ddeatheath in 18141814.. 38 COMFOrT AND rEFINEMENT IN THE NEW STYLE

The desire for both comfort and luxury led to costly research to please customers commissioning furniture. The wax mock-up piece for Marie-Antoinette's furniture in the Belvedere of the Petit Trianon illustrates the production process. It features several design options for the form and décor on the feet, apron, backrest and upholstery, so that the Queen could choose her favourite. The finished chair fully reflects her taste, with the exception of the the tissue and passementerie which are no longer present.

Bergère chair model Attributed to Gilles-François Martin, from a design by Jacques Gondoin Paris, 1780. Coloured wax on a wood, cardboard and paper base L. 0.14; H. 0.90; W. 0.90 m Versailles, Musée National des Châteaux de Versailles et de Trianon

This 1/7 scale-model was made by Gilles-François Martin, a sculptor and pattern-maker to the Royal Furniture Treasury in 1780, under the direction of Jacques Gondoin, the Treasury's designer. This piece was one of a set of eight chairs and eight bergère chairs famously commissioned by Marie-Antoinette for the Belvedere Pavilion at the Petit Trianon. The mock-up was one of the many phases in the complex process of creating this piece of furniture. After drafting large-scale drawings of the chair and bergère chair, Gondoin asked Martin to create a three-dimensional "small-scale model of the [bergère] armchair and the chair" out of wax, a malleable and modifiable material. Different design options can be seen on this model: armrest supports in the shape of a mermaid or or lion's head and shepherd's hook; legs resembling a quiver of arrows or a ribbed or smooth torso, and even with animal claws for feet.

"Regular", "light cabriolet" chair, chassis chair ( for the seat) François-Toussaint Foliot, from a design by Jacques Gondoin Paris, circa 1780-1781 Re-gilded beech. H. 0.89; L. 0.56; W. 0.56 m Versailles, Musée National des Châteaux de Versailles et de Trianon.

After Gondoin's modelling process, François-Toussaint Foliot, joiner to the Royal Furniture Treasury, was commissioned to make the chairs. The eight bergères chairs and eight chairs were delivered to Marie-Antoinette in July 1781. They were described as having "Roman-style wood" and were garnished with cushions. They also featured a skirt of heavy cloth draping (see mock-up above) and silk painted by Gondoin himself with extraordinary floral motifs and arabesques. Alas, although this set was amongst the most expensive furniture created for Marie-Antoinette, it was the swansong of the Foliot family. Nevertheless, when unveiled these new-style chairs would come to influence an entire generation of chair-makers and artists. 39 GrAND CLASSICISM, EXOTICISM AND MODErNITY

Although antiquity was the prevailing influence for the Louis XVI style, it was not the only one: cabinetmakers and chair-makers were also inspired by exotic designs that they re- interpreted and adapted to suit the tastes of their clientele. Chinese and Turkish elements, for example, offered fanciful alternatives to Roman shapes and décor. On the other hand, a desire for simplicity led joiners to design chairs with a purity of line and an astonishgly modern-looking form.

Queen's armchair belonging to the Marquise de Marbeuf Georges Jacob Paris, circa 1788-1790 Painted walnut H. 1.02; L. 0.66; W. 0.60 m Barnard Castle (Durham), The Bowes Museum

This armchair was made for the Marquise de Marbeuf's chamber in her Parisian manor. The Chinese influences in the design illustrate the quest for exoticism characteristic of the 1780s and 1790s. Jacob used a classical Parisian structure from the 1780s with its slender, smooth tapered legs, square seat and fine, sculpted frieze ties, to which he added elements from pagodas and Chinese furniture. Notably, the curved tie at the top of the backrest was directly inspired by a pagoda motif, with its three quarter-circle scrolls and two flat ends extending over the vertical supports. 40 LOUIS XIV, LOUIS XV, LOUIS XVI: THE ArT OF JOINErY

Consoles were made to be embedded into the architecture of a room, and were usually positioned below mirror trumeaus and could be used to supplement the existing décor. They were often designed by architects. The three consoles exhibited here illustrate all the stylistic evolutions and ornamental work characteristic of the 18th century siècle, from the end of Louis XIV's reign to the fall of the Ancien Regime.

Large console table Paris, circa 1720. Sculpted, gilt oak, red marble from Rance. H. 0.96; L. 1.69; W. 0.80 m (including the marble) Paris, Musée des Arts Décoratifs

Console tables were consdidered to be the work of joiners, and were first and foremost architectural furnishings that used significant amounts of gilt wood. They originated in the late 17th century around the same time as trumeau mirrors. This console, designed to be placed against a wall and viewed from the front, only has sculpted décor on three of the four sides. Its creation required the work of architects, artists and sculptors. Its outline is evocative of the "Grand Siècle" and the overall design offers a skilfully ordered sort of ornamental fantasy, which nonetheless depends on the structure, and which hints at the coming Rococo style.

Wainscoting console. Nicolas Heurtaut circa, around 1758. Re-painted oak, yellow Brèche marble from Sériny. H. 0.95; L. 1.73; W. 0.85 m. Château de Villarceaux, Conseil régional d’Ile-de-France

This console is characteristic of the "symmetrical Rococo" style of the 1750s, with a vibrant structure and an asymmetrical "walnut" stretcher reinforced by a robust, symmetrical openwork shell in the centre and other shells, also symmetrical, at the top of the legs. At the top of the walnut is an outlined heart-shaped cartel iconic of the post-rococo years. These features were typical of Heurtaut, as were the piece's expansive shapes, broad wood pieces and deep, nervy sculpture work. Notably, this is the only known console stamped by the chair-maker. Console tables were usually the work of building woodworkers, who differed from chair-makers in that they worked primarily on wall-related projects, including console tables fixed against walls. In creating this piece Heurtaut took on the role of a building woodworker, which was unusual but not illegal in the trade.

Console Paris, circa 1785. Sculpted gilt oak, white marble. H. 0.980; L. 2.275; W. 0.890 m Versailles, Musée National des Châteaux de Versailles et de Trianon

This console demonstrates the neoclassicism of the 1780s, which used antique, military-style decoration combining Roman lictor fasces, helmets, trophies, collections of weapons, depictions of Hercules and a lion's muzzle, as well as symbolic floral decoration generally consisting of oak, laurel and olive trees. The artists who worked in this style included Jean Charles Delafosse, Richard de Lalonde, Jean Démosthène Dugourc and François Joseph Belanger. Although there are lily flowers (symbolic of the French monarchy) on the stretchers and the palmettes on the apron are identical to those sculpted on the pediment of the backrest of the Queen's bed at Fontainebleau (1787), nothing suggests that this impressive console was made in connection to a piece destined for a royal dwelling, even though it possesses all the necessary qualities. 41 SECTION 19 THE QUEEN'S JEWEL CASE

This display case harks back to the lavish style of 17 th-century cabinets. Along with the one made at the same time for the Comtesse de Provence, now in the English royal collection, Marie-Antoinette's jewel case was the last piece of ceremonial furniture of theAncien Régime. It is Lavishly decorated with gilt bronze, mother-of-pearl, reverse glass painting and porcelain plaques and its "arabesque" style decoration heralds the prevailing tastes of the 1790s. It also bears hints of the Directoire style and even later decades.

Marie-Antoinette's jewel case Ferdinand Schwerdfeger Paris, 1787. Made of oak, mahogany, mother-of-pearl, reverse glass painting, ivory, hard-paste porcelain from Sèvres, gilt and silvered bronze, iron, green sea marble. H. 2.630; L. 2.072; W. 0.650 m Versailles, Musée National des Châteaux de Versailles et de Trianon

Exceptionally ornate, this jewel case uses a wide range of materials, including decorative reverse glass paintings in the Pompeian style by Jean- Jacques Lagrenée the younger, cameos painted by Jacques-Joseph Degault that were partially replaced the following year with new cameos by Sauvage, as well as gilt bronzes designed by Boizot, cast by Martincourt, chiselled by Thomire and gilded by Mellet. The porcelain factory in Sèvres supplied the blue and white medallion displayed in the centre of the apron, as well as the two beautiful blue vases that once sat on the stretchers of the base and which disappeared in 1830. The great round gilt-bronze bas-relief adorning the centre vantail door represents the Arts. The four imposing bronze caryatids spaced out along the façade symbolise the seasons. On the top of the piece Strength, Wisdom and Abundance once bore a royal crown that has since been lost. The "diamond chest" stands on eight legs carved in the shape of quivers. It has three vantail doors and numerous drawers. It is a picture-perfect revival of cabinet styles popular long before in the 17th century but abandoned since the reign of Louis XIV.

PArT III

IN CONNECTION WITH THE EXHIBITION 44

Part III — In connection with the exhibtion PUBLICATIONS

Exhibition catalogue

18th century, birth of design furniture masterpieces 1650-1790 Co-publishers: Faton – Château de Versailles Size: 23 x 30 cm 280 pages Price: €42 English version.

THIS CATALOGUE, published for the sumptuous exhibition at the Palace of Versailles, reveals the incredible creative force at work during the Enlightenment, when furniture-making became an art for the first time. During this era, architects, artists, merchants and simple artisans came together to give new form to wood creations, shaping furniture into something the world had never seen. Furnishings received new finishes and took on new silhouettes, exploring new materials and seeking different outlines for the first time. Artisans threw off the shackles of architecture while simultaneously playing with it and mimicking its styles. Furniture became lighter in tone, and comfort and luxury took on a larger role. Daily activities became closely tied to furniture, which came into its own during this time. The relationship between the individual and furniture became starker. Owing to their structure and ingeniousness and the incomparable quality of their artisanry, 18th-century furnishings became a mainstay of daily life and fashion, with all the era's trends and styles. Along the way, furniture-making acquired new status and recognition, known forever after as an intellectual design process.

CONTENTS - Foreword by Catherine Pégard - Foreword by Béatrix Saule - Foreword by Patrick Hourcade - A study of French th18 -century furniture: a history by Daniel Alcouffe - The golden age of French furniture. The status and statutes of cabinetmakers, the role of intermediairies, conditions and creation processes by Alexandre Pradère - Parisian furniture in the 17th century by Daniel Alcouffe - The Regency and Louis XV styles (1700-1755) by Bill G.B. Pallot - The Greek style and its development (1755-1774) by Thibaut Wolvesperges - The Louis XVI style by Yves Carlier and Anne Forray-Carlier 45 list of Authors

- Daniel Alcouffe, Honorary Curator General, Musée du Louvre, Paris. - Yannick Bapt, Art Historian. - Yves Carlier, Curator General, Musée National des Châteaux de Versailles et de Trianon. - Calin Demetrescu, Art Historian. - Anne Forray-Carlier, Head Curator in charge of the 17th and 18th Centuries Department, Musée des Arts décoratifs, Paris. - Jean-Jacques Gautier, Inspector, Mobilier National, Paris. - Patrick Hourcade, Photographer and designer. - Gérard Mabille, Honorary Curator General, Musée National des Châteaux de Versailles et de Trianon. - Étienne Martin, Head Curator, Musée des Arts décoratifs, Strasbourg. - Patrick Lemasson, Head Curator, Petit Palais, Musée des Beaux-Arts de la Ville de Paris. - Patrick Leperlier, International Advisor in furniture and objets d'art. - Bill G.B. Pallot, Associate Professor, University of Paris IV – Sorbonne, Art Expert, Art Historian. - Marc-André Paulin, Head of Artwork, Head of the Furniture Restoration Workshop, Centre de Recherche et de Restauration des Musées de France, Paris. - Alexandre Pradère, Ancient Furniture Expert, Art Historian. - Jean Vittet, Head Curator, Château de Fontainebleau. - Tamara Rappé, Head of the Western Europe Decorative Arts Department, Hermitage Museum, Saint-Petersburg. - Thibault Wolvesperges, Lecturer and Head of the Modern Decorative Arts Department, University of Paris IV – Sorbonne, Expert in artworks.

EXHIBITION ALBUM

Album in French 48 pages 21.5 x 28.5 cm €10 Publishers: Faton and Château de Versailles 46

Part III — In connection with the exhibition JEAN NOUVEL ABC

18 letters for 18th-century JEAN NOUVEL ABÉCÉDAIRE 18 lettres pour le XVIIIe siècle ARCHITECTURES D’INTÉRIEUR interior architecture

JEAN NOUVEL'S VIEW of this unique collection of creations from the 17th and 18th centuries is intentionally partial and fragmentary.

VISITORS WILL COME ACROSS HIS observations and thoughts throughout the exhibition, with this ABC which is at the same time both pertinent and impertinent. Published as a limited edition by the Palace of Versailles.

A free copy will accompany purchases of the Exhibition catalogue in an exclusive offer at the Palace of Versailles online boutique: www.boutique-chateauversailles.fr

In French and English.

18 letters for 18 key words

Architecture, Assemblage, Audace, Art,Apothéose, Arts appliqués Broderies, Beauté Caresse, Chef-d’œuvre, Caractère, Commande, Composition, Correspondances Dispositifs, Déplacement Équilibre, Échos, Ergonomie Folies, Féerique Galbe, Grand Siècle, Génie Haute précision Intelligence, Imagination Jubilatoire Laques, les Lumières Mécanicien, Magicien-mécanicien, Mutation Ors Paysages, Peintures, Proportion, Précis, Précieuse, Privilège, Poésie Résonance Symétrie, Style, Structure Typologies, Techniques Virtuosité, Versailles 47 A A NW\ݒ] n. f. — 1504 ; lat. architectura 1 L’architecture est celui 2 De tout temps, les théoriciens se sont préoccupés de distinguerܭArchitecture [DݒݕLW des beaux-arts dont les œuvres, conçues et exécutées dans l’espace à trois l’architecture, considérée comme un des beaux-arts, de l’art de bâtir, considéré dimensions, sont des édifices ayant une destination fonctionnelle précise, en comme une activité technique et non esthétique. « L’architecture est l’allégorie rapport avec les grandes activités matérielles, sociales ou spirituelles de la vie de l’art de bâtir », Schelling. L’architecture est « l’art d’arranger et de décorer humaine. Le plus souvent, ces édifices se distinguent des autres œuvres d’art les édifices élevés par l’homme, quelle que soit leur destination, de façon que à trois dimensions par l’existence et l’importance fonctionnelle d’un espace leur vue contribue à la santé, à la force et au plaisir de l’esprit », Ruskin. « La intérieur. construction est faite pour tenir, l’architecture pour émouvoir », Le Corbusier.

ranger

Commande de Commande de Louis XIV d’une paire Louis Alexandre de de « bureaux » Bourbon, comte de écrire 1708 Toulouse 1720 s’asseoir

Commande de Commandé pour se poser Nils Bielke à Paris la comtesse de Mailly, 1680 favorite de Louis XV 1742 poser

se toiletter Commande de Louise Commande de Martial Élisabeth de France, Louis de Beaupoil de Infante de Parmevers Sainte-Aulaire, évêque 1749 de Poitiers 1757 classer

Comme une architecture, ces meubles ont pour première raison, mais aussi comme parfaite excuse, Comme une architecture, ces meubles sont nés d’une commande. une fonction liée à un usage quotidien.

J L ,Jubilatoire [ݤ\ELODWZDݒ] adj. — 1828 ; de jubiler 1 Qui permet de se réjouir Laques [lak] n. f. pl. et m. pl. — xve lacce ; lat. médév. lacca, arabopersan lakk vivement, d’éprouver une satisfaction intense sans extérioriser sa joie. hindoustani lakh 1 Né en Chine, l’art de la laque, après avoir été un simple mode de protection des ustensiles courants, soit un art indigène, devient au viie siècle un art codifié. Il nécessite une habilité étourdissante. Une des plus grandes qualités de la laque et qui la différencie de tous les produits d’imitation est la profondeur de sa matière.

secrétaire armoire marqueterie de paille andré charles boulle

serre-bijoux serre-bijoux ferdinand schwerdfeger ferdinand schwerdfeger

armoire secrétaire en cabinet bernard ii vanrisamburgh martin carlin dit b.v.r.b.

armoire bernard ii vanrisamburgh dit b.v.r.b.

De nombreux détails marquetés, sculptés et peints trahissent le plaisir des artistes, Somptuosités, mystères et profondeurs orientales… à quel point ils se sont délectés à transmettre la légèreté, la poésie, l’ironie et l’humour… l’art de la laque transfigure le meuble en tableaux, en invitation au rêve et à la fugue exotiques… 48

Partie III — In connection with the exhibition THE ÉCOLE BOULLE AT VErSAILLES

WorkshopsWorkshops Through a Partnership with the École Boulle, an applied arts graduate school and secondary school for crafts, interior architecture and Cabinet-makingCabinet-making and carpentrycarpentry design, there will be seminars and meetings held with the school's pupils 2200thth, 22ndnd, 2727thth, 29th and professors during the exhibition. November,November, 11th, 13th,th, 1818thth DecemberDecember 2014, 1155thth, 1717thth, 22nd, 24thth January and 1122th The school is participating in two ways: FebruaryFebruary 2015. - practical demonstration workshops on Thursday afternoons and MarquetryMarquetry and Saturdays, in term-time only; with students and a professor; sculptingsculpting 6thth, 8thth, 13th, 15thth November,November, - a permanent display at the exhibtion entrance with educational films 4thth, 6thth DecemberDecember 2014,2014, 8thth, 10thth January, 5th and 7thth and items connected to furniture-making. February 2015.

Free aadmission.dmission. SaturSaturdayday mornings fromfrom 10am to 12:3012:30pmpm in addition THE ÉCOLE BOULLE to the eexhibitionxhibition visit.visit. BookinBookingsgs for schoolg roups,groups, carcardd holdersholders anandd visitors The école Boulle is one of the leading French schools for art with spspecialecial requirementsrequirements , applied arts and design. It available on ThursdaysThursdays andand is a prestigious institution that has been renovated and modernised by the City of Paris, and whose SaturSaturdayday aafternoons.fternoons. renown and longstanding prominence (it was opened in 1886!) have never stood in the way of InInformation:formation: 00 33 (0)1(0)1 30 83 7878 00 progress, with its educational staff regularly implementing new teaching practices, methods and structures.

In recent years for example, highly esteemed (and widely envied) degrees in architecture, products and objects have been developed in addition to the thirteen arts already existing, which include cabinetmaking, jewellery design, upholstery, sculpting, turning art, chasing and engraving. Enjoying strong links with the local community, the school is also developing an ambitious international program. The exploration of new experimentational structures allows the school's students to pursue their studies further than they would with ordinary qualifications, while the school prioritises quality and precision. Its use of digital technology and its quest for pure, contemporary lines illustrates the school's innovative, modern outlook, although it still preserves the invaluable historical heritage of artistic, creative skills.

The school welcomes students and adults from all social backgrounds. With the support of various organisations and sponsorships, its strength lies in its desire to pomote success and excellence in creative work and thinking, regardless of sociocultural origins.

Christophe HESPEL, Head of the École Boulle. 49

Partie III — In connection with the exhibition MAÎTrES D'ArT VISITS

A Maître d’Art (Master of Art) is a benchmark professional who posseses exceptional skills and knowledge. The Master is renowned amongst his peers for his experience, expertise and teaching skills. He must be able to pass on his know-how and ability to students so that they can carry on his work.

The creation of the official Maître d’Art title was inspired by the "Living National Treasures" of Japan: Masters of Art transmit their knowledge of excellence, strive to advance their profession, and demonstrate innovation.

Today there are 107 Maîtres d’Art in France, 78 of whom are working. The title is bestowed upon them by the Minister for Culture and Communication.

The partnership between the exhibition "18e, aux sources du design"' and the Maîtres d'Art association aims to highlight the techniques and knowledge of artisanry and showcase the collections of the Palace of Versailles.

"Expert exhibition visits" by the Maîtres d'Art

Through their targeted exhibition visits, the Maîtres d'art will share their specialist perspective with visitors on selected items. The visit will be a dialogue between the Maître d'Art and the public, allowing visitors to understand his speciality in greater detail.

Maîtres d'Art present: Flaconneur and Glass Blower; Paper-Embosser, Printer and Velvet Shearer; Straw Inlayer; Gold Thread Embroider; Lacquer Artist; Gold-Beater; Fan Maker; Cabinet-maker/ Restorer; Art Deco Cabinet-maker; Woodcarver and Ornament Designer; Artistic Brass Turner.

These visits are only available to "A year in Versailles" card holders Forty or so visits are scheduled.

For bookings and more information visit www.chateauversailles.fr/abonnement

PArT IV

EXHIBITION PArTNErS 52

Part IV — Exhibition partners Sponsors

Nexans' ongoing international development has led it to establish a more global framework for its work in support of causes in the public interest. The creation in 2013 of the Nexans Foundation was thus a natural extension of the Group's work, enabling the initiatives of its international subsidiaries to become more professional by uniting them all within a single perspective. The Foundation provides a common framework for the actions supported, in line with the Group's strategy and values.

Access to Energy is a matter of prime importance

Today More than 1.3 billion people do not have access to energy and at least 2.7 billion do not have access to hygienic cooking facilities. More than 95% of these people live in Sub-Saharan Africa or in developing countries in Asia. Estimates predict that 1 billion people will still not have access to energy in 2030, and there will be no improvement in access to hygienic cooking facilities. Through its Foundation, Nexans has decided to help bring electricity to poorer communities all over the world, prioritising on-the-ground associations and sustainable solutions. Following its first call for projects in April 2013, the Foundation's Selection Committee and Management Board decided to financially support 10 projects working to bring electricty to villages, schools and education centres in Togo, Burkina Faso, Mali, Morocco, Laos, Madagascar and Cameroon; more locally, the Foundation is supporting a project to combat the unstable energy situation in the French region of Isère. In addition, the Management Board granted exceptional assistance to Électriciens sans Frontières for the construction of a sustainable village to house 2,000 people after Typhon Haiyan struck the Philippines in November 2013. In 2014, 11 projects to bring electricity to villages, schools, orphanages and health centres located principally in Africa were chosen.

Giving a new dimension to the sponsorship agreement with the Palace of Versailles ContactsContacts

PressPress NexansNexans Through the Nexans Foundation, AngélineAngéline AfanoukoeAfanoukoe Nexans has also decided to continue its partnership with the Tél.Tél. : +33 (0)1 73 23 84 1122 Palace of Versailles. This commitment demonstrates the Group's desire to remain faithful to a [email protected]@nexans.. cocomm relationship built up over the years to help keep the Palace in its rightful place as France's premier site of artistic creation and excellence. Fondation Nexans Pascale StrubelStrubel TéTél.l. : +33 (0)1 73 23 85 2288 [email protected] 53

Maison Perrier-Jouët, founded in 1811, has always had a unique relationship with the world of Design and Applied Arts. Ever since its its Cuvée de Prestige Belle Epoque was decorated by Émile Gallé, the Maison has on numerous occasions benefited from regular artistic collaborations with well-known contemporary designers such as Makoto Azuma, Tord Bootje, Simon Heidjens and Vik Muniz. In addition, it has been an exclusive partner of Design Miami since 2012.

ContactContact IT IS THUS WITH THE SAME ENTHUSIASM and passion for Design that the Maison is proud to count e ÉlisabethÉlisabeth RiRicardcard itself among the sponsors for 18" , Aux sources du design – Chefs-d’œuvre du mobilier de 1650 à 1790" [email protected]@pernod-ri- held at the Palace of Versailles from 28th October 2014 to 22nd February 2015. cacard.comrd.com 54

Part IV — Exhibition partners MEDIA PArTNErS

For "18e, aux sources du design" at the Palace of Versailles, ARTE will broadcast the documentary "Le mobilier de Versailles et ses héros" (The furniture of Versailles and its heroes), by Fabrice Hourlier.

The documentary will explain the history of Versailles in a new way, focusing on its incredible furnishings. The priceless furniture is listed as UNESCO World Heritage and bears tangible and perennial witness to the life of the illustrious men who commissioned it, as well as to the talent of those who made it. Delve into the heart of Versailles over a period of 3 centuries (from the reign of Louis XIV to the Second Empire) with an object or item of furniture as a starting point. The documentary establishes a direct link between the illustrious clients, the objects of their desire and the creators, and pays tribute to the work of the furniture-makers who produced items of such refinement and detail. Providing an insight into the private life of a ruler and symbol of an era, it reveals the social, political and economic context of the time, as well as the ambitions of individuals, and unveils the personality of the presitigious clients. It will also reveal the successful combination of art and technique that was mastered by the greatest craftsmen of each period.

To be broadcast on ArTE during the first quarter of 2015. 55

France's number one classical music station Radio Classique attracts more than a million listeners a day thanks to the elegance, quality and accessibility of its programs. Our presenters - Ève Ruggiéri, Christian Morin, Élodie Fondacci, Laure Mézan, Alain Duault, Olivier Bellamy, Claire Chazal and Albina Belabiod– play a vital role, transmitting their emotion. The station's greatest strength is its calming effect through the finest classical works. It is a radio station for enjoyment, suspending time and providing an oasis away from stress and the frantic rush of day-to-day life. a relevant, analytical approach to news Radio Classique offers two major news shows in the morning and evening. We are committed to providing relevant information analysed with discernment. Guillaume Durand (8am-9am) and Patrick Poivre d’Arvor (7pm-8pm) lead discussions with well-known experts, editorial writers and journalists. radio Classique on tour Besides programs, the radio station is continuing its events work to promote classical music all over France, broadcasting fifty or so major concerts live and showcasing local diversity and talent. It is also increasing the number of local stations in the major cities of France, in order to reach out to its listners and offer original programs.

WITH ITS HIGHLY DIVErSE PUBLICATIONS, Connaissance des Arts gives its readers the keys to a better understanding of art across all eras, from archaeology to contemporary creation, garden art to photography, design to architecture. Alongside its monthly periodical (11 issues per year), Connaissance des Arts publishes 40 or so special issues and art books each year. It also boasts a strong online presence with Connaissancedesarts.com, the benchmark site for all national and international arts news with articles, portfolios, podcasts and videos. Connaissance des Arts now comes in a digital version with its app offering enriched photos and videos.

EACH MONTH CONNAISSANCE DES ArTS keeps its readers abreast of international events. Exhibitions, auctions, trade fairs and seminars are all put under the spotlight by leading journalists and experts. 56

EACH WEDNESDAY, FIGArOSCOPE, the Paris Ile-de-France cityguide produced by Le Figaro, takes a look at the main cultural trends of the moment as well as not-to-be-missed exhibitions. ON FrIDAYS, IT IS THE NEW FIGArO MAGAZINE that raises the curtain on the best events and most emblematic artists in its pages illustrated with magnificent photos. ON ITS WEBSITE, in addition to its weekly music and cinema programs such as Le live and Le clap, the Figaro Group offers an innovative digital platform dedicated to the art market: Lefigaro.fr/ encheres. This page offers varied editorial content as well as the opportunity to take part in online auctions.

FIGArOSCOPE IS DELIGHTED to partner the "18e, aux sources du design" exhibition .

EVErY FrIDAY THE GAZETTE DrOUOT gives readers everything they need to buy and sell at auctions.

FAVOUrITES, ANALYSIS OF THE LATEST TrENDS, POrTrAITS OF ArTISTS, EXCLUSIVE INTErVIEWS… With its announcements and results of auctions,La Gazette Drouot is an indispensable guide to the art market. With 9000 pages and almost 50,000 photos each year, it offers the most complete range of information of all the trade press titles. Internationally, La Gazette Drouot offers two interactive issues, in English and Chinese.

LA GAZETTE DrOUOT, THE VErY BEST OF ArT AND CULTUrE. www.gazette-drouot.com 57

THE WOMEN'S WEEKLY FrOM NEWS GrOUP L'EXPrESS, L’E xpress Styles offers the same quality and editorial rigour as the daily paper. A unique slant on contemporary styles, delivering both pleasure and good sense.

L’EXPrESS STYLES DECIPHErS, ANALYSES AND CAPTUrES OUr ErA. Its ambition is to surprise, move, and stimulate: with its bold lines, unmissable selections, and original creations it offers a style that is always accessible.

L’EXPrESS STYLES is an exclusive, contemporary, aesthetic and elegant read, offering up the unexpected on a weekly basis.

Paris Mômes is a cultural guide for parents of children aged 0 to 12. Since its first issue hit the shelves in 1997, the magazine has been a prominent supporter of artistic creations aimed at younger audiences: theatre, cinema, visual arts, publications, music… Paris Mômes is also a partner of various cultural events which are suitable for families.

The magazine’s Exhibition section helps young readers to discover everything from modern art to traditional crafts, in the firm belief that art can stimulate the imagination of kids of all ages. The magazine also organises its own events, including the Fête de la Musique for kids at the Cité de la Musique, the Nuit Blanche for kids and a whole host of activity guides for the latest exhibitions, making it easier for parents to take their children with them to galleries and museums, with a few pointers to help youngsters understand the works on show.

Guided by the principle of cultural openness, the editorial line at Paris Mômes is strongly in favour of original artistic endeavours, and initiatives which call for collective involvement and a spirit of citizenship. Deeply involved in the cultural life of the region, Paris Mômes offers a new perspective on Paris and the Ile-de-France.

PArT V

APPENDICES 60

Practical information

The Palace of Versailles online

Get all the daily news and behind-the-scenes info about the Palace in pictures and video. forfor moremore www.chateauversailles.fr informationinformation Château de Versailles @CVersailles

T : + 33 ((0)10)1 30 83 78 0000 Château de Versailles http://www.youtube.com/chateauversailles

How to get to the Palace from Paris

RER train line C, direction Versailles Château - Rive Gauche SNCF trains from Montparnasse station, direction Versailles - Chantiers SNCF trains from Saint-Lazare station, direction Versailles - Rive Droite Bus line 171 from Pont de Sèvres, direction Versailles Place d’Armes Motorway A13 (direction Rouen), exit signposted Versailles-Château Parking at the Place d'Armes.

Opening times

The exhibition is open every day except Mondays and except for 25 December and 1st January. Opening times: 9 am to 5.30 pm, (last admission at 4.45 pm), ticket offices close at 4.50 pm. Every day except Mondays.

Admission fees

Exhibition accessible with the "Passport" or "Château" tickets and the "1 year at Versailles" card. Free for EU residents aged under 26. Château ticket: €15, discounted rate €13, free for EU residents aged under 26. 1-day Passport granting access to the Palace, gardens, Trianon palaces and Domaine de Marie- Antoinette, and to temporary exhibitions: €18 2-day Passport granting access for 2 days to the Palace, gardens, Trianon palaces and Domaine de Marie-Antoinette, and to temporary exhibitions: €25

Audioguide

An audioguide tour is available in French, English and Spanish. It offers a better understanding of the exhibition based on 16 emblematic pieces. Audioguide free of charge; age 8 and over. 61 The exhibition with your family

Free discovery tour for kids aged 8-12

P

O

U Livret

R

L E jeu S EN In partnership with Paris Mômes FANTS

18e, Available at the entrance to the exhibition and at the reception and information aux sources du design points at the Palace. Chefs-d’œuvre du mobilier 1650 à 1790 Du 28 octobre 2014 au 22 février 2015 Downloadable at: www.chateauversailles.fr

Workshops for kids aged 8-12 Family activities (from 8 years), on 26 and 28 December, 8 and 15 February 2015.

rates: Free of charge for children under 10. 10-25 years: €7. Over 25 years : €7 + admission fee. Booking compulsory, by phone on +33 (0)1 30 83 78 00 or by email: [email protected]

Guided Tours

Guided tours of the exhibition 10.30 am: 4, 13, 19, 23, 25 and 28 November; 2, 6, 12, 18 and 24 December; 7, 10, 16, 24 and 27 January; 3, 6, 12, 20 and 22 February. 2.30 pm: 6, 8, 12, 16, 27 and 30 November; 4, 5, 9, 10, 17 and 20 December; 14, 18, 22, 28 and 30 January; 4, 8, 10 and 19 February. Duration: 1hr30

rates : €7 + admission fee. Free of charge for children under 10 and for people accompanying disabled visitors. Booking compulsory, by phone on +33 (0)1 30 83 78 00 or on-site on the day (subject to availability).

Palace of Versailles online store www.boutique-chateauversailles.fr

Limited-edition bags and accessories made from the exhibition's banners. Collection available from April 2015. Book now at: www.boutique-chateauversailles.fr

Booklet: 18 letters for the 18th century. Interior architecture Jean Nouvel gives an intentionally partial and fragmentary view of this unique collection of 17th- th JEAN NOUVEL ABÉCÉDAIRE and 18 -century creations. The exhibition enriched with his observations and thoughts has resulted 18 lettres pour le XVIIIe siècle ARCHITECTURES D’INTÉRIEUR in this pertinent yet impertinent ABC, published as a limited edition by the Palace of Versailles. Free of charge for all purchases of the exhibition catalogue, exclusively at the online store. Available in French and English. 62

Visuals available to the press

These visuals are free of rights, but only for the promotion of the exhibition 18" e, aux sources du Design, Furniture Masterpieces, 1650 to 1790" presented at the Palace of Versailles from 28th October 2014 to 22th February 2015.

Ebony cabinet Paris, circa 1645 Collection Emmanuel Crenne Photo: All rights reserved

Cabinet Paris, circa 1675 Musée des Arts Décoratifs de Strasbourg © Photo Musées de Strasbourg, musée des Arts décoratifs/ M. Bertola

Commode André Charles Boulle (1642-1732) Paris, 1708. Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist RMN-Grand Palais / Christophe Fouin

Double vantail commode with drawers Paris, circa 1730. From the collections of Marie-Anne de Bourbon, Princess de Conti Les Arts Décoratifs, Paris © Les Arts Décoratifs, Paris / photo Jean Tholance

Low bookcase Antoine-Robert Gaudreaus (circa 1682-1746) and Jean-Henri riesener (1734-1806) Paris, 1744 et 1784. Paris, Ministère de la Marine, service des collections du cabinet du chef d’état-major de la Marine. © Mobilier national, Paris / Isabelle Bideau

Commode Antoine-r+obert Gaudreaus (vers 1682-1746) Paris, 1744 Made for the chambers of Louis XV at the Château de Choisy Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin 63 Commode Bernard II VanrisenBurgh (aka) B.V.r.B. (after 1700-1766) under the direction of Thomas-Joachim Hébert (1687-1773) Paris, 1737. Paris, musée du Louvre © Musée du Louvre, Dist. RMN-Grand Palais / Studio Sébert

Commode attributed to Bernard II VanrisenBurgh (aka) B.V.r.B. (after 1700-1766) Paris, 1730-1735. Made for the "China cabinet" of the Duke of Maine at the Château de Sceaux. Sceaux, musée du domaine départemental des Hauts- de-Seine. Photo Benoit Chain

Corner armoire Charles Cressent (1685-1768) Paris, 1750. One of a pair. Los Angeles, The J.Paul Getty Museum. Photo Randy Dodson

Medallion armoire Charles Cressent (1685-1768) Paris, circa 1750 Calouste Gulbenkian Foundation, Lisbon © Calouste Gulbenkian Museum, photo : Catarina Gomez Ferreira

Writing table attributed to Bernard II VanrisenBurgh (aka) B.V.r.B. (after 1700-1766) Paris, circa 1745-1749 Fine Arts Museums of San Francisco Photo : DR

Secretary desk attributed to Bernard II VanrisenBurgh (aka) B.V.r.B. (after 1700-1766) Paris, circa 1750-1755 © The National Trust - Waddesdon Manor / Mike Fear

Table with a mechanism to trigger the interior structure Jean-François Œben (1721-1763) Paris, circa 1760. Exterior marquetry inspired by Indian motifs. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Bookcase-secretary desk attributed to Bernard II VanrisenBurgh (aka) B.V.r.B. (after 1700-1766) Paris, circa 1755. Made for the retraite cabinet of Louis XV at Trianon Le Mans, musée de Tessé. © Dominique Poussin / musée de Tessé 64 Bourgogne table Paris, circa 1760 Paris, musée du Louvre © Musée du Louvre, Dist. RMN-Grand Palais / droits réservés

Roll-top bureau (the King's bureau) Jean-François Œben (1721-1763) and Jean-Henri Riesener (1734-1806) Paris, 1760-1769. Made for the work cabinet of Louis XV at the Palace of Versailles Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / droits réservés

Commode Matthieu Criaerd (1689-1776) under the direction of Thomas-Joachim Hébert (1687-1773) Paris, 1742. Made for the chambers of Madame de Mailly at the Château de Choisy Paris, musée du Louvre © musée du Louvre, Dist-RMN-GP / Thierry Ollivier

Double-vantail armoire Bernard II Van risen Burgh (aka) BVrB (after 1696-1766) Paris, circa 1755 Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / droits réservés

Combined secretary desk Workshop of René Dubois (1737-1799) Paris, 1775-1785 Piece used as a secretary desk, writing table and dressing table. Musée des Beaux-Arts de la Ville de Paris, Petit Palais. © Eric Emo / Petit Palais / Roger-Viollet

Steel console attributed to Pierre II Deumier, from Victor Louis and Jean-louis Prieur Paris, circa 1766-1770 Saint-Petersburg, Hermitage Museum © Photo: Inna Regentova et Natalia Antonova

Varnished steel commode Pierre Macret (1727 - 1796) Paris, circa 1770 From the furnishings of Marie-Antoinette. Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Secretary desk Attributed to Adrien Faizelot Delorme (1722-1791) Paris, circa 1750. From the furnishings of Madame de Pompadour at the Château de Bellevue Les Arts Décoratifs, Paris © Les Arts Décoratifs / Julien Thorance 65 Cabinet secretary desk Martin Carlin (circa 1730 - 1785) Paris, circa 1780 Paris, musée du Louvre © musée du Louvre, Dist-RMN-GP / Droits réservés

Bureau Jean-Henri Riesener (1734-1806) Paris, circa 1785-1788 From the Queen's home at the Hameau de Trianon Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / Gérard Blot

Commode Jean-Henri Riesener (1734-1806) After 1783 Fontainebleau, musée national du château © RMN-Grand Palais (château de Fontainebleau) / Gérard Blot

Commode Guillaume Benneman (1750-1811) under the direction of Jean Hauré Paris, 1786 Made for the grand cabinet of Marie-Antoinette at the Château de Fontainebleau Fontainebleau, musée national du château © RMN-Grand Palais (château de Fontainebleau) / Gérard Blot

Roll-top secretary desk David Roentgen (1743-1807) Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / Daniel Arnaudet

Table Paris, circa 1780-85 Illustrating the production of luxury furniture in gilt bronze and marble. From the collections of the Princes Poniatowski. Musée des Beaux-arts de la ville de Paris, Petit Palais. © Petit Palais / Roger-Viollet

Commode attributed to Adam WEISWELER (1744-1820) Paris, 1788 Made for the interior cabinet of Louis XVI at the Château de Saint-Cloud Compiègne, musée national du château © RMN-Grand Palais (domaine de Compiègne) / Thierry Le Mage

Armchair Paris, circa 1715/1720 Les Arts Décoratifs, Paris © Les Arts Décoratifs / Julien Thorance 66

Armchair Paris, circa 1710-1720 From the furnishings of the Paris townhouse of financier Pierre Crozat Paris, musée du Louvre © Musée du Louvre, Dist-RMN-GP / Daniel Arnaudet

Armchair attributed to Nicolas (1676-1752) or Jean-Baptiste Tilliard (1686-1766) Paris, circa 1745 Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / Jean-Marc Manaï

Armchair attributed to Louis Cresson (1706-1761) Paris, circa 1735 Les Arts Décoratifs, Paris © Les Arts Décoratifs / Julien Thorance

Armchair Nicolas - Quinibert Foliot (1706 - 1776) Paris, circa 1749 Made for the furnishings of Madame Élisabeth, daughter of Louis XV, for her residence in Parma (Italy) Saint-Petersburg, Hermitage Museum Photo Vladimir Terebenin

Armchair Anonymous Paris, circa 1765 Musée des Beaux-Arts de la Ville de Paris, Petit Palais © Eric Emo / Petit Palais / Roger-Viollet

Armchair Georges Jacob (1739-1814) Paris, 1788 Made for the games room of Louis XVI at the Château de Saint Cloud Paris, musée du Louvre © Musée du Louvre, Dist-RMN-GP / Martine Beck-Coppola

Chair François-Toussaint Foliot (1748-1839) Paris, circa 1780-1781 Made for the "Pavillon du Rocher" or Belvedere of the garden of the Petit Trianon Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin 67 Mock-up of bergère chair attributed to Gilles François Martin (1713-1795), from Jacques Gondoin (1737-1818) Paris, 1780. Preparatory mock-up of the chairs for the "Pavillon du Rocher" or Belvedere of the garden of the Petit Trianon Paris, musée du Louvre © Musée du Louvre, Dist-RMN-GP / Stéphane Maréchalle

Console Nicolas Heurtaut (1720 - 1771) Paris, circa 1758. Made for the salon of the Château de Villarceaux Collection of the Val d'Oise department. Photo: DR

Large console table Paris, circa 1720 Les Arts Décoratifs, Paris © Les Arts Décoratifs / Julien Tholance

Console Paris, circa 1785 Versailles, musée national des châteaux de Versailles et de Trianon © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Jewel case Ferdinand Schwerdfeger (1734-1818) and after Jean-Démosthène Dugourc (1749-1825) Paris, circa 1787 Versailles, musée national des châteaux de Versailles et de Trianon Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin