Transition Chest of drawers in fruitwood and ivory marquetry, amaranth veneer and rosewood from the Transition period. The decor consists of Chinese characters and weapon trophies. The ornamentation in gilded bronze and the top in veined white marble. Work around 1770, stamped IG SCHLICHTIG. Of German origin, Jean-Georges Schlichtig obtained his master’s degree on October 2, 1765 and settled in rue du Faubourg Saint-Antoine then rue Saint Nicolas. A talented marquetry artist, he distinguished himself in artistic cabinetmaking and worked for Queen Marie Antoinette. His furniture, mainly Transition and Louis XVI, classical, was in rosewood veneer arranged in butterfly wings, usually framed in violet or amaranth wood. Some works, worked more meticulously, were inlaid with wreaths of flowers or trophies. On the whole, the fabrications left by this skilful cabinetmaker often remain original and of high quality. After his death in February 1782, his wife kept his workshop and his activity until 1787. Dimensions: 85.5 cm H x 140 cm W x 60 cm D The fashion for furniture inlaid with architectural decorations extends into the 1770s, at the same time as the neoclassical movement developed. The cabinetmakers continue to draw their models from engravings by ornamentalists, but the inspiration follows a broader register in keeping with the return of the taste for the antique. Architectures, ruins, port scenes, trophies, vases complete the flower and foliage motifs.
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Transition Dimensions<\/u><\/strong>:<\/em><\/strong>
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Commode en marqueterie de bois fruitier et ivoire, placage d\u2019amarante et bois de rose d\u2019\u00e9poque Transition.
Le d\u00e9cor est constitu\u00e9 de personnages chinois et de troph\u00e9es d\u2019Armes. L\u2019ornementation en\u00a0bronze dor\u00e9 et le dessus en marbre blanc vein\u00e9.
Travail vers 1770, estampill\u00e9e\u00a0I.G. SCHLICHTIG.\u00a0<\/em>
D\u2019origine allemande, Jean-Georges Schlichtig obtient sa ma\u00eetrise\u00a0le 2 octobre 1765 et s\u2019installa rue du Faubourg Saint-Antoine puis rue Saint Nicolas. Marquetteur de talent, il se distingua dans l\u2019\u00e9b\u00e9nisterie d\u2019art et travailla pour la reine Marie Antoinette. Ses meubles, principalement Transition et Louis XVI, classiques, \u00e9taient en placage de bois de rose dispos\u00e9 en ailes de papillons, encadr\u00e9s g\u00e9n\u00e9ralement de bois de violette ou d\u2019amarante.
Quelques oeuvres, travaill\u00e9es plus minutieusement, \u00e9taient marquett\u00e9es de gerbes de fleurs ou de troph\u00e9es. Dans l\u2019ensemble, les fabrications laiss\u00e9es par cet habile \u00e9b\u00e9niste restent souvent originales et de grande qualit\u00e9. Apr\u00e8s sa mort en f\u00e9vrier 1782, sa femme conservera son atelier et son activit\u00e9 jusqu\u2019en 1787.<\/p>\n
85,5 cm H x 140 cm L x 60 cm P
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La mode des meubles marquet\u00e9s de d\u00e9cors d\u2019architecture s\u2019\u00e9tend dans les ann\u00e9es 1770, en m\u00eame temps que se d\u00e9veloppe le courant n\u00e9oclassique. Les \u00e9b\u00e9nistes continuent de tirer leurs mod\u00e8les de gravures d\u2019ornemanistes mais l\u2019inspiration suit un registre plus large en accord avec le retour du go\u00fbt pour l\u2019antique. Architectures, ruines, sc\u00e8nes de port, troph\u00e9es, vases viennent compl\u00e9ter les motifs de fleurs et rinceaux.<\/p>\n