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Any art dealer and antique dealer would be, as I am, very proud to be able to present a piece of furniture such as this magnificent console with griffins from the Consulate period attributed to Adam Weisweiler for the cabinetmaking part and Lucien François Feuchère for the bronzes.
A "museum piece"!
The attribution to Weisweiler was not easy, this magnificent console could very naturally have been attributed to Jacob Desmalter or even to Charles Lemarchand.
Indeed, a similar console with griffins (bronze virgin) was delivered by Jacob Desmalter in 1802 to the hotel in the rue de la Victoire in Paris, then placed in 1806 at the Rambouillet palace, in the second salon of the empress. . However, the hocks are slightly "thicker" than on our model.
Another very similar console, the one delivered by Charles Lemarchand to the Château de la Malmaison around 1800, the lion's hocks, the wings and the structure of our console are found there, the griffin heads are replaced by winged female busts.
Much research, as well as the opinion of other specialists, has linked the shape of the hocks, claws, wings as well as the harmony and aesthetics of our console, to the production of Adam Weisweiler during the period of Consulate and Empire. Like the one stamped by Weisweiler (who like Pierre Antoine Bellangé, stamped barely a quarter of its production) around 1800, bought by Prince Esterhazy, today kept at the Museum of Decorative Arts in Budapest.
The gilded bronzes, of exceptional finesse, could easily be attributed to Lucien François Feuchère, with his very representative style. We also find the bronzes directly above the heads of the griffins on a clock signed by Feuchère, Psyche crowning Love. The palmettes and the crown are found on a pedestal table delivered to Versailles, to the Grand Trianon and whose authors were Lucien-François Feuchère for the bronzes and Adam Weisweiler for the cabinetmaking.
This pedestal table, thanks to the sculpture of the hocks and its gilded bronzes, perfectly matches the carving and harmony of our console.
Weisweiler, who worked mainly with Pierre Philippe Thomire for the "large ornamentations", particularly appreciated Feuchère's work and often collaborated with the latter to produce more "refined" models.
Between 1804 and 1809, the production of Empire furniture of Weisweiler knew a very important activity, if one refers to the sums owed by Thomire and Duterme, stated in the inventory, after death of Weisweiler.
Few pieces of furniture have come down to us, and the total identification with the principles implemented by the ornamentalists no longer makes it possible to distinguish them as before.
Almost all of Adam Weisweiler's furniture has an important past, all were part of known collections, or are believed to have belonged to important figures of the Empire (mainly the Emperor, Queen Hortense, Marshal Berthier, .. .).
Moreover, it is not known whether Weisweiler continued to work with Lignereux. It is very likely that he became a merchant from his installation in rue des Tournelles in 1797, thus ensuring the execution and sale of his production.
Having become almost dependent on orders from Thomire-Duterme, its production suffers from the renewal instilled by these sponsors.
However, Weisweiler got lost in the uniformity of Empire production, without succeeding in creating his own style, as he had been able to do between 1778 and 1790.
The Empire Furniture by Adam Weisweiler is no less sublime.
I let you appreciate the details of the griffins, up to the sculpture of the tongues of the latter, particularly impressive.
The gilding of these, with gold leaf comes to magnify a superb mahogany from Cuba.
The original black Belgian marble, in excellent condition, completes this work.
Exceptional condition ... for an exceptional piece!

If your research and your sensitivity lead you to attribute this magnificent console to Jacob-Desmalter or Charles Lemarchand, like certain other experts whom I have consulted, I would understand you completely.


A.weisweiler And L.f. Feuchère: Exceptional Large Console Consulate Period

€17,000.00Price
  • DIMENSIONS

    Longueur :  116 cm
    Hauteur   :     93 cm
    Profondeur : 46 cm 

  • LIVRAISON

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  • PAIEMENT

    - par carte bancaire sur le site ( paiement en ligne sécurisé )

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  • BIBLIOGRAPHY

    BIBLIOGRAPHY:
    - Weisweiler, Maurice Segoura, Editions d'art Monelle Hayot.
    - French furniture Consulate and Empire, Jean pierre Samoyault.
    - French Furniture from the 18th Century - Pierre Kjellberg - Les Editions de l'Amateur - 2002
    - Cabinetmakers of the 18th century - Count François de Salverte - Editions of Art and History - 1934
    - French 18th century cabinetmakers - Connaissance des Arts "Grands Craftsmen d'Autrefois" Collection

  • ADAM WEISWEILER (1744-1820)

    Received Master cabinetmaker on March 26, 1778: Ranked among the most remarkable cabinetmakers of his time, Adam Weisweiler stands out with his fancy furniture, taken from the Antique.
    Born in Nieuwied-sur-le-Rhin, near Coblentz, Weisweiler was initiated into the cabinetmaking profession in the workshops of David Roentgen. He moved to rue du Faubourg Saint-Antoine in 1777, when he married. Once he became a master, he developed a great reputation. He will receive numerous orders from the Court, through the merchant-mercer Dominique Daguerre, for whom he delivers his works on a regular basis. During the Revolution, Weisweiler bought several buildings. In 1797, he left the Faubourg Saint-Antoine for rue des Tournelles where he owned a shop in which he would continue his cabinetmaking activities. Shortly after the death of his wife in 1809, his only son Jean, who until then worked with him, was interned in a mental asylum. At this time, Weisweiler is mentioned as a former cabinetmaker.
    With a great diversity of forms and materials, Weisweiler's work nonetheless presents a great unity - visible during the fifteen fruitful years of the cabinetmaker. Illustrator of the so-called "Pompeian" style, her manner is characterized by the finest of qualities but also by its originality. We lend him works done in the best taste and skill. For the structure of its furniture, Weisweiler opts for lightness, simplicity and rigidity. His furniture combines the passion for antiquity and the attributes bequeathed by previous reigns. Weisweiler likes the column-shaped feet, which tapers down to the ground and ends with patterns inspired by ancient architecture. Crotch braces often reinforce the fragility of his works.
    Expert in cabinetmaking, he favors precious woods of oak, mahogany, ebony, amboyna or thuja, selected from the first choice species, which highlight the simple lines of his furniture. He adds copper rods, often at the level of the feet to which he gives the appearance of Doric columns. Although he produced very few marquetry works, Weisweiler displayed a predominance of Sèvres or Wedgwood porcelain plaques in the decorative elements of his works, as well as lacquer or red horn panels. A pupil of Roentgen, he retained his taste for furniture with ingenious mechanisms and secret offices. Finally, it is characterized by furniture often very small such as the pedestal table or the happiness-of-the-day, always designed with extreme rigor and lightness.

  • LUCIEN-FRANÇOIS FEUCHÈRE (1766-1841)

    Master bronzier and Master gilder. Son of Pierre François Feuchère
    Companion gilder with his father-in-law Chéron, to whom he succeeded as master in 1763.
    His bronze works (furniture decorations, clocks, sconces, candelabras, etc.) are still particularly popular, like those of his father. His workshop on rue ND de Nazareth provided the imperial furniture repository and would have counted more than 150 artisans and workers. His son Armand and his son-in-law Fossey will continue after him the family tradition of founder and gilder.

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