A late Louis XV gilt-bronze mounted tulipwood, amaranth, burl maple veneered and Chinese lacquer panels commode à vantaux, circa 1770, stamped by RVLC

Paris sale, 29 May 1914, lot 40;

Former collection Cassel van Doorn;

Collection de la Baronne Cassel van Doorn, Galerie Charpentier, Paris, 30 May 1956, lot 120

J. Nicolay, L’art et la manière des maîtres ébénistes français au XVIIIe siècle, 1956, p. 265, illustr.fig. W

F.J.B. Watson, Le meuble Louis XVI, Paris, 1963, p. 100 and ill. 19

T. Wolversperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999, illustr.p. 314 and p. 394

Roger VanderCruse dit Lacroix or RVLC, cabinet maker, received master in 1755.

A remarkable ébéniste and outstanding marquetry craftsman, RVLC has certainly established his own distinctive style, which sometimes allows some of his creations to be identified without even seeing his stamp. This commode, which bridges the transition between the Louis XV and Louis XVI styles, is characteristic of his oeuvre. Like some of his contemporaries, there is a desire here to break away from the classical framework of marquetry and explore new types of oriental decoration. Among the most illustrious is the one in lacquer and inlaid with hardstone, formerly with the Jacques Perrin gallery. As T. Wolvesperges (op. cit.) pointed out, in addition to the ‘usual’ Chinese lacquer technique, there are three other methods, one of which deserves to be discussed in relation to the present commode. This is a tempera painting process (different from true lacquer) that was developed in Canton in the mid-18th century and intended for export.

The author describes an important eight-panel screen (formerly in the Galerie des Laques in Paris) depicting a palace and a courtyard scene with a garden painted in tempera, with a characteristic backdrop featuring light tones and bluish iridescence. It seems that this same type of decoration was used on a small series of Parisian furniture, including this commode. Among the most notable examples are two secrétaires, one from the former Cholmondeley collections at Houghton Castle, sold at Christie's, London, 8 December 1994, lot 36, stamped Macret, and its counterpart, sold at Christie's, London, 6 June 2006, lot 110. Another secrétaire, also from the Houghton collections (lot 74), attributed to Joubert and featuring the same characteristic decoration, is also noteworthy. Finally, there is another secrétaire, that of Nicolas Petit, offered for sale at Christie's, Monaco, 19 June 1988, lot 134.

These all display a typically Chinese aesthetic (particularly in the facial features and expressions), which should be attributed to this Cantonese production rather than to a Parisian creation attributed to the Martin brothers. The motifs, which were very popular with European audiences, depict scenes from everyday Chinese life. These highly decorative panels are enhanced by a gilt-bronze frame, while the red or green lacquered edges are veneered with rosewood on Petit's secrétaire and this commode.