An engraved brass and pewter inlaid tortoiseshell première-partie boulle marquetry and ebony bureau mazarin attributed to Alexandre-Jean Oppenordt (1639-1715) and stamped I Dubois (1693-1763) Louis XIV, circa 1685, restored by Jacques Dubois, circa 1750

with a rectangular top within an everted border with a gilt-bronze acanthus clasp at each corner above a frieze drawer and recessed kneehole above a concave flap opening to reveal a recess flanked by three drawers on later cabriole legs terminating in gilt-bronze block feet on brass castors, the rear inlaid in fruitwood and amaranth on an ebony ground, the whole decorated with scrolls, foliage, bellflowers, female masks and geometric motifs within strapwork reserves

Almost certainly acquired by either George, 2^nd Earl of Warwick (1746-1816) also known as Earl Brooke of Warwick Castle or his son Henry Richard Greville, 3^rd Earl of Warwick (1779-1853), for Warwick Castle, Warwickshire.
Thence by descent with the Earls of Warwick until sold by the Trustees of the Warwick Castle Settlement, Christie’s, London, 20^th May 1968, lot 81, described as a `Louis XIV Mazarin.. in the manner of A.C. Boulle and stamped I. Dubois ..who probably restored this piece during the 18^th century’
The Property of a Lady

31st October 1853 inventory (WRO CR 1886/Box 783/16) carried out by William Kendall, lists in the East Sitting Room`A Buhl Desk’, which may well refer to the offered bureau, see fig. 1.
Also see the Heirlooms at Warwick Castle,1900 (WRO CR 1886 / BOX 708), reproduced here in fig. 2.

In the Gilt Drawing Room, (removed from the Cedar Room):

"4ft Red Buhl writing desk inlaid brass and white metal 7 drawers under", reproduced here in fig. 3.

This appears to be the most likely description for the offered bureau mazarin; the width and configuration of the drawers as well as the type of brass and white metal inlay all suggest a close match. The principal boulle pieces acquired in the early 19th century were largely concentrated in the Cedar Room, and this desk was located there before the inventory noted its relocation to the Gilt Drawing Room.

There is a collection of watercolour views of Warwick Castle, circa 1911, by W. W. Quatremain, one of which is of the Cedar Drawing Room at Warwick Castle, illustrating the boulle furniture, with what appears to be the bureau in the background, reproduced here in fig. 4.

In overall good conserved condition however there are some minor cracks which will need attention. A rare model with exceptional inlay. Some of the engraving on the brass is rubbed in places as expected due to the age of the piece. Very nice detail to marquetry. There are some very minor losses to the brass and pewter inlay but this is hardly noticeable. Some very miniscule restorations to the tortoiseshell especially along the front curved edge which have been well executed and are hardly noticeable and some very minor losses. There is a slight gap between the top and the base which just needs the pegs adjusting. The bank of drawers on both sides have some minor shrinkage so that the front of the drawers slightly protrudes from the carcass. There is some ebony veneer missing and pewter banding bent and missing from the border at the base of the front left drawer which can easily be restored. There is a vertical crack in both sides which will need some attention and the pewter on the left side when facing surounding the panel is lifting and dented in places and would benefit from some minor attention. There are hairline cracks generally to the veneer on the back both vertically and horizontally, there are two horizontal cracks across the central back panel which appear to have been restored in the past but which are opening up again and would benefit from some attention.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Peter Fuhring, Designs for and after Boulle Furniture, The Burlington Magazine, vol. CXXXIV, no. 1071, June 1992, pp. 350-362. 
Alexandre Pradère, French Furniture Makers, The Art of the ébéniste from Louis XIV to the Revolution, Tours,1989, pp. 63-65.
Jean Nérée Ronfort, André-Charles Boulle 1642-1732, Un nouveau style pour l’Europe, Paris, 2009.
Jean Piere Samoyault, André-Charles Boulle et sa Famille, Paris, 1979, p. 122 item
Peter Thornton, Seventeenth–Century Interior Decoration in England, France & Holland, London,1978, fig. 31.
Louis XIV faste et Décors Mai-Octobre, 1960, Musée des Arts Décoratifs, Palais du Louvre-Pavillon de Marsan,Pl. XXXIII, no. 78.

We would like to thank Martin Snape and Dr Christine Hodgetts for their assistance regarding the Warwick Castle Provenance.

The attribution to Alexandre–Jean Oppenordt (1639-1715):
The exceptional quality of the marquetry inlay in brass, pewter and tortoiseshell on this bureau Mazarin is almost certainly by the celebrated and supremely talented ébéniste ordinaire du roi, Alexandre–Jean Oppenordt. It is rare to find a bureau in three tone marquetry which includes brass, pewter and tortoiseshell, more commonly this type of marquetry is in brass and tortoiseshell. What is intriguing however, is the stamp of I Dubois on this desk, a restorer’s stamp from the mid 18^th century, when the desk was probably restored by him and the legs brought into line with the prevailing taste at that time. It is no coincidence that one of the most outstanding ébenistes of the middle years of the 18th century, Jacques Dubois, took it upon himself to restore an early 18th century piece and add more fashionable rococo legs, which, even later on in that century would have been recognised as a tour de force in the employment of exotic and precious materials combined with outstandingly skilled ébénisterie confirming that metal inlaid boulle furniture was highly prized throughout the 18th century.

The attribution of this bureau Mazarin to Oppenordt can be made on the basis of its striking similarities to other pieces known to be by or attributed to him. Attributions to this maker are often made on the basis of their similarity to a  celebrated bureau brisée, belonging to Louis XIV and delivered on 25^th July 1685  for 240 livres which is now in the Metropolitan Museum of Art, New York (inv. 1986. 365.3), reproduced here in fig. 5. The similarity of the top on the Metropolitan bureau to that on the present piece can be seen in the geometric framework of the design, fluidity of the rinceaux, husk trails and scrolls. What is most noticeable is that in both the Metropolitan bureau's top and the top of this bureau is the double symmetrical composition of both right and left sides flanking the central design. In addition, the design subtly imitates ironwork.

Furthermore, there is the profuse use of the trefoil motif which on the Metropolitan bureau is incorporated into a fleur de lis at the angles and below the initials. It is also worth noting that the boulle design runs along the curved edge of the bureau in both examples. One should also compare the design of the parquet with tortoiseshell and brass marquetry from the Swedish Royal Coach made in 1696 by the menuisier du roi certainly Oppenordt, after designs by Jean Berain at a cost of 600 L (Royal Palace , Stockholm), illustrated by Pradère, op. cit., p. 65, fig. 11.

Another strikingly similar piece in terms of the design of the top, is an important commode in brass and tortoiseshell attributed to Oppenordt, sold lot 63, Sotheby’s, Paris, 23^rd March 2006  (360,000E). The top is very similar to that on this bureau with a central reserve flanked on either side by a symmetrical design of rinceaux, husks and scrolling foliage within a geometric strapwork framework, the top of which is reproduced here in fig. 6. It was attributed to Oppenordt on the basis of similarity with the top of the bureau brisée in the Metropolitan Museum (see ante).

It is also worthwhile comparing the marquetry on the door of a pair of cabinets in Stratfield Saye, Hampshire, ancestral home of the Duke of Wellington since 1817, with the marquetry on the top of this bureau, which is very similar in conception with strapwork, rinceaux and a quatrelobed reserve with a foliate motif in the centre reproduced here in fig. 7. The aforementioned cabinets by André-Charles Boulle (1642-1732) reflects the homage paid by him to his elder contemporary, Alexandre-Jean Oppenordt, even though the Boulle is erroneously regarded as the prime innovator of metal inlay on furniture, due in no small part to the extensive publications of his designs and  much larger workshop than Oppenordt. Samoyault, op. cit., p. 122, list the inventory after Boulle's death as containing at item 25, `Une portefeuille de paysages colorés  de Van Hude, Monières, Mouffetar, Oppenor et Inselin, prisées...', which would seem to confirm that Boulle owned landscapes by Oppenordt. Boulle may well have also had designs by the by him and  Fuhring op. cit., p. 357, states that one artist who worked for Boulle was Gilles-Marie Oppenordt (1685-1742), the son of Alexandre-Jean Oppenordt, which may have influenced Boulle in the design of the marquetry on the Stratfield Saye cabinet (see ante).

The form of ths type of bureau mazarin in boulle marquetry on cabriole legs is very rare but one should consider a 17^th century bureau in boulle marquetry with cabriole legs, conceived in a similar vein to this bureau, illustrated in Louis XIV faste et Décors Mai-Octobre, 1960, Musée des Arts Décoratifs, Palais du Louvre-Pavillon de Marsan, illustrated Pl. XXXIII, no. 78, stated then to be in the collection of Baron de Rédé, reproduced here in fig. 8.  A related bureau brisé attributed to Pierre Gole in pewter and brass contre-partie boulle marquetry on later cabriole legs, sold, lot 51,  Christie’s, 13^th June 1991. It is conceived in a similar vein to the offered bureau although the marquetry is more fluid and lacks strapwork cartouches on the top, but there are similar masks on the top to those upon this bureau.  

The other exceedingly rare feature of this bureau is the back exquisitely veneered with various woods in foliate marquetry, which obviously implies that the bureau was intended to be placed in the centre of a room. There is a precedent though extremely rare for boulle bureau mazarin's to be veneered on the back as they were more often than not left plain as they were intended to be placed against a wall so that the reverse was never on view.

The other comparable piece, although the marquetry is far less sophisticated and the quality of its execution is inferior, is a Louis XIV brass inlaid red tortoiseshell boulle marquetry bureau mazarin supplied by Thomas Chippendale, which was offered for sale Christie’s, Dumfries House, Vol. I, 12^th July 2007, lot 53. The back of the Chippendale bureau is very simply veneered in parquetry with a diaper motif within a square flanked by an oblong reserve in ebony on a walnut ground. The existence of this bureau would seem to indicate that the leading cabinet-makers of the day in both France and England, namely Dubois and Chippendale, were instrumental in making furniture made by outstanding French ébénistes from  the late 17th/early 18th century more fashionable.  It is recorded that Thomas Chippendale supplied the `French commode-dressing-table’ or bureau Mazarin in 1759. The use of a bureau Mazarin as a dressing table as Chippendale probably intended for the Dumfries example, is demonstrated in an engraving illustrated by Thornton, op. cit., fig, 31.  (Bibliotheque Nationale, Paris). In Christophe Gilbert’s note to the Dumfries bureau Mazarin he states that the legs are more characteristic of mid 18<sup>th</sup> century styles, as G. de Bellaigue has pointed out and it is therefore possible that Chippendale reconstructed the commode much in the same way that Dubois altered the legs on the offered bureau Mazarin. Gilbert, also states `The most remarkable item which Lord Dumfries bought from Chippendale was `a French Commode inlaid wt Tortoiseshell & brass £15.15s'. Another boulle bureau mazarin with a marquetry back in various woods is in a Private British Collection.

In conclusion therefore, this magnificent and extremely rare example of early 18th century three coloured boulle marquetry on a bureau mazarin with a back also veneered with sophisticated wooden marquetry, can only have been made by a contemporary and equal of André-Charles Boulle and the name of Alexandre-Jean Oppenordt is the obvious candidate as the author of this piece. The exquisite quality and skill employed in the marquetry and the striking similarity to other pieces by Oppenordt strongly support an attribution to this maker.

Alexandre-Jean Oppenordt (1639-1715):
Born in the Dutch city of Gueldre in 1639, Oppenordt relocated to Paris in 1668. In 1684, he initially installed himself in the privileged Temple quartier of Paris where he was able to practice his craft without entering into the restrictive world of guilds and corporations. In 1684, he then secured himself lodgings in the ‘Galeries du Louvre’ which allowed him to remain there for life, along with the title of ‘ébéniste ordinaire du roi.’  However, he left in 1701 and preferred to retire from 1684 onwards to the house at Champfleury which belonged to King Louis XVI. The years that immediately followed this appointment saw the creation of some of Oppenordt’s most celebrated pieces for Versailles. In 1683, he was paid 3,600 livres for `twelve marquetery cabinets which he made for his Majesty’s medals at 300 livres each’. These cabinets were installed in Versailles in niches in the Cabinet des Curiosités also called the Cabinet des Médailles and were complimented by a sumptuous bureau (for the sum of 6,500 livres) and four other cabinets in kingwood.

In 1685, Oppenordt was paid 240 livres `for compartments made for two bureaux for His Majesty’s Petit Cabinet’. These were probably the marquetry panels made for a bureau identified as from Louis XIV’s Cabinet de la Poudre at Versailles (now in the Metropolitan Museum of Art, New York-see ante)

Between 1684 and 1686, Oppenordt made the parquet for Louis XIV’s Petit Galerie at Versailles. He also worked for Louvois during these years making two pietre deure cabinets for him which are recorded and a drawing by Berain for a cabinet in pietre dure with the arms of Louvois confirms the collaboration between Berain and Opppenordt. Berain is recorded as using his team of craftsmen for ebinesterie commissions that he had received. Two works designed by Berain can be attributed to Oppenordt: the sarcophagus commode in the Wallace collection after engravings by Berain and the flooring in tortoiseshell marquetry of the royal coach in Stockholm made in Paris in 1696. According to Pradere, op. cit., p. 64, `in both cases the composition of the marquetry, made of small arabesques delineated by bandwork,is very different from Boulle’s’.  Oppenordt was very close to Colbert de Villacerf who was superintendent for the `Batîments du Roi' from  1691 to 1699. After spending three months in Paris in 1687, Nicholas Tessin le Jeune (1654-1728), a Swedish architect who recommended only two makers and states about Oppenordt's cabinets, tables etc `Openo (Oppenordt) is a maker..for the King but also for private clients. He can make state-of the art cabinets, tables and other items. As his furniture is well done, he earns a lot of money as well'. He managed to leave his son the equivalent of £62, 500 in 1701, a considerable sum at that time. His apprentices were Charles Gallois, his cousin Tilman Brockman and Etienne Gouet. In 1694, Oppenordt made a pilgrimage to Italy and he died in 1715. Gilles-Marie Oppenord, A-J Oppenordt’s son, went on to work with André Charles Boulle and to become a successful designer and architect in his own right. 

Jacques Dubois (1693-1763):
He was received Master in 1742 and was one of the most important ébénistes of the Louis XV period. His furniture was of outstanding quality and he produced luxury furniture in the main comprising secrétaires and bureaux in Chinese and Japanese lacquer. He was equally specialist in restoring Boulle marquetry pieces. One can also find his stamp on other boulle pieces which he had restored: a boulle marquetry console sold Christie's Monaco, Akram Ojjeh Collection, 11th December 1999, lot 45;  see lot 72, sold in these Rooms, 7th December 2000, for a pair of boulle marquetry pedestals, circa 1710-20, attributed to André-Charles Boulle, both stamped I. Dubois; a pair of boulle marquetry console tables attributed to André-Charles Boulle stamped Dubois, sold Christie’s, Monaco, 11th-12^th December 1999, lot 45.At the end of the inventory drawn up after his death, there is listed a very large stock of gilt-bronze mounts-432livres pesant de modeles de bronze, prises 1 080 L-which according to Pradère op. cit., would indicate that Dubois was anxious to protect the exclusivity of his bronze models and stocked large quantities of unchased mounts which he had available for use on his furniture.

The 2^nd and 3^rd Earls of Warwick and Warwick Castle, Warwickshire:

Warwick Castle was described by Sir Walter Scott as `the fairest monument of ancient and chivalrous splendour which yet remains uninjured by time.’

This bureau Mazarin was once part of the renowned boulle collection which had been assembled by George, 2nd Earl of Warwick (1746-1816) and his son Henry Richard, 3rd Earl of Warwick (1779-1853) at Warwick Castle.

George Greville, 2^nd Earl of Warwick was a nobleman and politician known as Lord Greville until 1773. He went to Eton from 1753 to 1754 and Christ Church Oxford for his degree and also matriculated from Edinburgh University. He became a member of the Royal Society in 1767 and a Fellow of the Royal Society of Antiquaries in 1768 and was a member of parliament for Warwick between 1768 and 1773 and from 1770-74 he was appointed to the Board of Trade. In 1771, he married the Hon. Georgina Peachey, the daughter of James Peachey, 1^st Baron Selsey, and they had one son Henry Greville. He was Recorder of Warwick from 1773-1816 and Lord Lieutenant of Warwickshire 1795-1816. The 2nd Earl bankrupted himself in 1802 due to his passion for collecting and profligate spending on works of art. He was known for collecting boulle furniture, pietre dure tables, works of art and the celebrated Warwick vase from his uncle Sir William Hamilton.

Henry Greville, 3^rd Earl of Warwick (1779-1853) was a British Tory politician. He was by George’s second wife, Henrietta and was educated at Winchester. He entered Parliament in 1802 and held the seat until he inherited the Earldom from his father in 1816. He served as Lord-in-Waiting (government whip in the House of Lords) from 1841 to 1846 in the second Tory administration of Sir Robert Peel. Henry was also a Recorder of Warwick between 1816 and 1835, Lord Lieutenant of Warwickshire between 1822 and 1853 and Lord of the Bedchamber between 1828 and 1830. In 1827, he was appointed Knight of the Thistle. He was also Lord in Waiting 1841-46. He married Lady Sarah Elizabeth daughter of John Savile, 2^nd Earl of Mexborough and widow of John Monson, 4th Baron Monson, in 1816. The 3rd Earl was less extravagant than his father George, and he extended the collection purchasing ebony furniture with sumptuous inlay and works of art. The state rooms were filled with works of art listed by Kendall.

The 1900 heirloom inventory lists the documented furniture by Boulle acquired for Warwick and in addition to the offered bureau includes:a pair of torchères (sold in 1968 at the same sale as the offered bureau and then again by them in 11th June 2003, lot 30), a rectangular table sold from the de Pauw collection, Sotheby’s Monaco, 23rd June 1986, lot 626, a bureau plat sold at Christie’s Geneva,18th November 1974, lot 54 and a régulateur in the Cedar Room at Warwick.