Antique French Napoleon Empire Furniture.
NAPOLEON CROWNED HIMSELF Emperor
in 1804. From this date until his abdication in 1814, and final defeat by Wellington at the Battle of Waterloo in 1815, he dominated the European scene. Moreover, his taste, and the Empire style that he cultivated, became omnipresent in Europe.
Already emerging before 1804, this austere style sought to associate Napoleon’s Empire with the glories of ancient Egypt and ancient Rome. This aim manifested itself in an almost archaeological interest in Classical motifs, promoted by Perrier and Fontaine, whose Recueil was
The frieze is decorated with
a central gilt-bronze rosette,
flanked by palmettes.
The protruding columns
have gilt-bronze
capitals and bases.
republished in 1812. The light style of furniture that prevailed before the turn of the century was now transformed into a truly imperial idiom in keeping with Napoleon’s despotic tendencies.
EMPIRE MOUNTS
Neoclassical influences are evident in the ubiquitous bronze dore mounts on Empire furniture: griffons, lions, and sphinxes abound. Martial motifs were especially popular, such as trophies or crossed swords. Some of the best-quality mounts were produced in the
workshop of Pierre Thomire. His mounts appear on furniture by Beneman and Weisweiler. Other Beneman pieces are known to have similar, high-quality applique details made by Antoine-Andre Ravario.
EMPIRE MAKERS
The dissolution of the Guild of Joiners and Cabinet-Makers in 1791 meant that craftsmen could now establish workshops comprising several trades in a single location. The workshops of the ancien regime were quick to
re-open after the Revolution, seeking a wider, often middle-class, clientele, who were sometimes less demanding. Some feared that this might lead to a decline in quality French furniture. However, the finest pieces, made for the Emperor and his circle, reveal the same technical brilliance as items produced in the previous century. Many of the great ebenistes had previously worked for Louis XVI, including Bellanger, Benenian, Georges Jacob, Molitor, and Weisweiler. It was also a period of great productivity between 1810 and 1811, as much as 17,000 francs was spent on furniture for Imperial residences, and half a million francs went to Georges Jacob Desmalter alone for furniture made for the Palais des Tuileries. There
were 10,000 workers involved with furniture production in Paris during the first decade of the 19th century, making pieces for both the local and export markets. Jacob-Desmalter
employed at least 88 workers, some at his Porte Saint-Denis workshop.
Upholstery and drapery sometimes overpowered the Empire room. Ceilings could be tented in strong, usually striped, colours (blues, reds,
The Empire style was born from a merger of art and political aspirations in a heady, post-Revolution atmosphere upheaval. It was
greens, and yellows) to echo tented military accommodation. The embroidered patterns on chair upholstery were both large and bold.
NOVEL FORMS
Several novel forms also appeared. The lit en bateau was very fashionable, often with scrolled ends, raised on a dais, and draped in fabric. It was similar in form to the recamier, or day bed, and the meridienne, a type of sofa with scrolled ends, one higher than the other. For middle-class homes, the less expensive lit droit was popular; it had a headboard under a triangular pediment. For the first time,
bedrooms were furnished with a Psyche mirror, or Cheval glass. The small, round gueridon, or candlestand, served a variety of functions, and sometimes had metal legs, patinated green to simulate ancient metals, possibly set with a porphyry top.
The commode slowly became more functional and occasionally the drawers were set behind doors. Chairs were often supported by Grecian sabre back legs, and had either rectangular or over-scrolled backs. Usually the
arms were supported on human or swan forms. Empress Josephine’s dressing room at Fontainebleau probably houses the most famous Empire chairs – those with a curved back en gondole.
Finally, there were various furniture forms for writing, from the box-like secretaire d abattant (and its relative the secretaire de compiegne) to the bureau plat, which assumed grand and monumental proportions under the Empire.
ARMCHAIRS “AUX TETES DE LION”
are made of mahogany. Each has
rectilinear back, an upholstered seat
and armrests, upholstered seats are
on sabre legs, with those at the front
terminating in lion’s-paw feet. The chairs are attributed to the maker Jean-Baptiste Demay of Paris. Although lion’s masks appear frequently on British furniture of the period, they are a
relatively unusual feature on French Empire pieces. 1805
This fine-quality flame-veneered tric trac, or games, table has a removable writing table top with inset brass corners and a baize playing-card surface on the reverse. Each side has one false drawer and one drawer for playing pieces. The table stands on square, tapering legs terminating in brass casters. c.1810.