{"id":4954,"date":"2025-07-02T11:54:00","date_gmt":"2025-07-02T09:54:00","guid":{"rendered":"https:\/\/galerieleage.com\/?post_type=newsletter&p=4954"},"modified":"2025-09-16T12:01:18","modified_gmt":"2025-09-16T10:01:18","slug":"interlude-collections-weisweiler-chest-of-drawers","status":"publish","type":"newsletter","link":"https:\/\/galerieleage.com\/en\/newsletter\/interlude-collections-weisweiler-chest-of-drawers\/","title":{"rendered":"Interlude \u2013 Collections\/Weisweiler chest of drawers"},"content":{"rendered":"\n

A CONSULATE CHEST OF DRAWERS BY ADAM WEISWEILER

France, Consulate period, early 19th<\/sup> century
From a drawing by Charles Percier (1764\u22121838)<\/strong>
Attributed to Adam Weisweiler (1746\u22121820)<\/strong>
Mahogany, painted and gilded wood, gilt bronze and brass
Portor marble

Provenance:<\/strong>
- In 1808, this chest of drawers was located in the 1st<\/sup> floor bedroom of the H\u00f4tel d\u2019Elbeuf, where Jean-Jacques R\u00e9gis de Cambac\u00e9r\u00e8s resided.
- Mr. Jean Lef\u00e8vre\u2019s collection, built up in the 1950s ; by descent to the last owner.

Height: 98 cm \u2013 38 1\u20442 inches
Width: 155 cm \u2013 61 inches
Depth: 62,5 cm \u2013 24 1\u20442 inches <\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Made by one of the greatest cabinetmakers of the late 18th<\/sup> century, this chest of drawers bears witness to the development of the Consulate taste and the work of some of its major figures. Its illustrious provenance traces the history of the furnishings of the great state residences of the early 19th<\/sup> century, and puts it among the finest pieces of furniture of the period.<\/p>\n\n\n\n

Adam Weisweiler after the French Revolution<\/strong>

Cabinetmaker Adam Weisweiler (1744\u22121820) enjoyed a brilliant career at the end of the 18th<\/sup> century. Working closely with the marchand mercier<\/em> Dominique Daguerre (who died in 1796), he created furniture of incomparable elegance and luxury for the aristocracy and the royal family.
After the French Revolution, the cabinetmaker pursued his career in a new society in which a military and administrative bourgeoisie flourished. In 1797, he acquired a house in the rue des Tournelles, where he probably ran a shop in addition to his cabinetmaking business.
 <\/p>\n\n\n\n

<\/p>\n\n\n\n

Fig. 1<\/strong> \u2014 Adam Weisweiler and Pierre-Philippe Thomire (attributed to), Martin-\u00c9loi Lignereux (probably under the direction of), Secretary with marble panels<\/em>, before 1800, Aranjuez, Royal palace<\/p>\n\n\n\n

Daguerre died the following year, and Weisweiler continued to work with the merchant\u2019s former associate, Martin-\u00c9loi Lignereux (1751\u22121809). Through Lignereux, Weisweiler collaborated regularly with the bronzemaker Pierre-Philippe Thomire (1751\u22121843) on the creation of highly refined furniture. Together, they contributed to the development of a new taste, and took on prestigious commissions. These included a chest of drawers and a secretary for King Charles IV of Spain in Aranjuez (fig. 1), and two jewel coffers on stands for Queen Hortense a few years later.
 <\/p>\n\n\n\n

<\/p>\n\n\n\n

Fig. 2<\/strong> \u2014 Adam Weisweiler and Pierre-Philippe Thomire (attributed to), Martin-\u00c9loi Lignereux (probably under the direction of), Chest of drawers with lacquer panels<\/em>, before 1800, Saint-P\u00e9tersbourg, Hermitage museum<\/p>\n\n\n\n

The names Weisweiler, Thomire, and Lignereux are associated with the production of a range of furniture to which our chest of drawers belongs. These include the Aranjuez chest of drawers and secretary already mentioned, as well as two chests of drawers and a secretary in the Hermitage Museum in Saint Petersburg (fig. 2). Their great wealth, the remarkable quality of their construction, and the detail of their ornamentation bring them together. They all reflect the taste of the Consulate, the transition between Louis XVI and Empire furniture.<\/p>\n\n\n\n

Between Louis XVI and the Empire: the<\/strong> Consulate taste<\/strong>

Between 1789 and 1804, the Directoire and Consulate tastes marked a subtle transition between Louis XVI and the Empire. Along with the Jacobs, the merchant Martin-\u00c9loi Lignereux was one of the major figures of this period. Simplifying forms and ornamentation, they favored an antique vocabulary of great archaeological accuracy. The Egyptomania aroused by the Egyptian campaign (1798\u22121801) also became one of the main sources of inspiration. The group of furniture to which our chest of drawers relates bears witness to this new taste. Their form, structure, and rhythm are still close to that of Ancien R\u00e9gime furniture, but their ornamentation bears witness to a new influence. The gilt bronzes on our chest of drawers retain in their design and chasing all the finesse and elegance of Louis XVI\u2019s reign. The motifs used, however, are new \u2014 curved lozenges set with elongated palmettes, sphinxes whose tails end in scrolls, six-pointed double stars, and masks of Diana framed by a laurel wreath (fig. 3).
 <\/p>\n\n\n\n

<\/p>\n\n\n\n

Fig. 3 \u2014 <\/strong>Adam Weisweiler (attributed to), Mahogany chest of drawers from the H\u00f4tel d\u2019Elbeuf<\/em>, detail, Consulate period, Galerie L\u00e9age<\/p>\n\n\n\n

<\/figure>\n\n\n\n

Fig. 4<\/strong> \u2014 Charles Percier, Chest of drawers in mahogany, satinwood and ebony, decorated with a porcelain plaque and bronzes<\/em>, former Roche collection<\/p>\n\n\n\n

This group of furniture was probably made after the architect and ornamentalist Charles Percier (1764\u22121838), the third major figure in the Directoire and Consulate tastes. A drawing by him, formerly in the Roche collection (fig. 4), depicts a chest of drawers that is similar in every way to the chests of drawers and secretaries mentioned above, in particular its lion\u2019s paw legs and palmette adorned base.
Working for the high society of the period and enjoying great renown, Percier published numerous interior and furniture designs in collaboration with his associate Pierre Fontaine (1762\u22121853). Very close to the Jacob family, he evolved in the same Parisian milieu as Lignereux. Lignereux\u2019s daughter married Fran\u00e7ois Honor\u00e9 Georges Jacob-Desmalter, son of Georges Jacob, in 1798. Lignereux and the ornamentalist certainly exchanged ideas, as these pieces of furniture show.<\/p>\n\n\n\n

The furnishing of the H\u00f4tel d\u2019Elbeuf for Jean-Jacques R\u00e9gis de Cambac\u00e9r\u00e8s<\/strong>

Second consul in 1799, then archchancellor of Emperor Napoleon Bonaparte in 1804, Jean-Jacques R\u00e9gis de Cambaceres (1753\u22121824) was the second man at the head of the state from 1799 to 1815. After being named consul, it chose to settle in the H\u00f4tel d\u2019Elbeuf, rue Saint-Nicaise, near the Palais des Tuileries.
 <\/p>\n\n\n\n

<\/p>\n\n\n\n

Fig. 5 <\/strong>- Fr\u00e9d\u00e9ric-Henri Schopin, Jean-Jacques R\u00e9gis de Cambac\u00e9r\u00e8s, duc de Parme, 1824\u20131842, d\u2019apr\u00e8s un portrait de 1814, Versailles, Ch\u00e2teaux de Versailles et de Trianon (inv. MV 4716)
\u00a9 Ch\u00e2teau de Versailles, Dist. RMN \/ \u00a9 Christophe Fouin<\/p>\n\n\n\n

Cambac\u00e9r\u00e8s quickly furnished his residence and drew in the reserves of the Garde-Meuble. He chose a particularly rich furniture, in agreement with its new statute. Some of the most beautiful pieces of furniture of the Ancien R\u00e9gime but also more modern pieces, thus constituted the setting of its sumptuous official receptions. Our chest of drawers was one of the pieces chosen.<\/p>\n\n\n\n

In 1808, it is mentioned in the inventory drawn up before the removal of Cambac\u00e9r\u00e8s to the H\u00f4tel de Roquelaure. In the bedroom on the first floor is mentioned:  \u201cA commode, new, antique style with portor marble top, the said in mahogany wood, adorned with gilded bronze mat, the front with 3 small drawers, in the thickness of the frieze, with heads of Mercury and griffins, large drawers below with different entries of locks and handles formed by knobs, side panels with laurel leaf wreaths and Diana heads, lower crosspieces with gilded moldings and antique bronze-colored parts, lion claw feet and baguette frame with gilt copper fillet 1m55c wide 1m high\u201d.<\/em><\/p>\n\n\n\n

The chest of drawers accompanies Cambac\u00e9r\u00e8s in his new residence and is still there in 1816.
The rest of its journey in the 19th<\/sup> and early 20th<\/sup> centuries could not be retraced. It reappeared in 1950 in Jean Lef\u00e8vre\u2019s collection.<\/p>\n\n\n\n

<\/figure>\n\n\n\n

Fig. 6<\/strong> \u2014 Monsieur Jean Lef\u00e8vre\u2019s collection in Le d\u00e9cor d\u2019aujourd\u2019hui<\/em>, n\u00b089, 1954 \u201cInsignes souvenirs imp\u00e9riaux\u201d, p. 298<\/p>\n\n\n\n

<\/td><\/tr>
Arch. nat O2 701, H\u00f4tel du Carrousel : inventaire g\u00e9n\u00e9ral du mobilier de l\u2019archichancelier Cambac\u00e9r\u00e8s,<\/em> 138 folios, 1807\u20131808<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Bibliography<\/strong><\/p>\n\n\n\n

Arch. nat O2 701, H\u00f4tel du Carrousel : inventaire g\u00e9n\u00e9ral du mobilier de l\u2019archichancelier Cambac\u00e9r\u00e8s<\/em>. 138 folios. 1807\u20131808
Arch. nat. O2 506, dossier 17, pi\u00e8ce 1, Lettre au grand mar\u00e9chal du Palais<\/em>, 1808
Arch. nat. 286 AP 2 dossier 1 pi\u00e8ce 140, Dossier relatif \u00e0 l\u2019\u00e9vacuation de l\u2019h\u00f4tel de Cambac\u00e9r\u00e8s \u00e0 Paris, place du Carrousel,<\/em> 17 mars \u2013 2 septembre 1808
Arch. nat. N\/III\/ Seine, 850, Catalogue g\u00e9n\u00e9ral des cartes, plans et dessins d\u2019architecture<\/em>. Tome I. H\u00f4tel d\u2019Elbeuf, rue Saint-Nicaise (empl. Plce du Carrousel) ; \u00e9l\u00e9v. De l\u2019entr\u00e9e sur le Carrousel,<\/em> fin du XVIIIe<\/sup> si\u00e8cle
Patricia Lemonnier, Weisweiler<\/em>, \u00c9ditions d\u2019Art Monelle Hayot Paris, 1983, p. 60\u201361
Jean-Pierre Samoyault, Mobilier Fran\u00e7ais Consulat et Empire<\/em>, Paris, \u00e9dition Gourcuf Gradenigo, 2009, pp. 31\u201333<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\n\n\n\n

A CONSULATE CHEST OF DRAWERS BY ADAM WEISWEILER\n

France, Consulate period, early 19th<\/sup> century
From a drawing by Charles Percier (1764\u22121838)<\/strong>
Attributed to Adam Weisweiler (1746\u22121820)<\/strong>
Mahogany, painted and gilded wood, gilt bronze and brass
Portor marble<\/p>\n

Provenance:<\/strong>
- In 1808, this chest of drawers was located in the 1st<\/sup> floor bedroom of the H\u00f4tel d\u2019Elbeuf, where Jean-Jacques R\u00e9gis de Cambac\u00e9r\u00e8s resided.
- Mr. Jean Lef\u00e8vre\u2019s collection, built up in the 1950s ; by descent to the last owner.<\/p>\n

Height: 98 cm \u2013 38 1\u20442 inches
Width: 155 cm \u2013 61 inches
Depth: 62,5 cm \u2013 24 1\u20442 inches <\/p><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/figure>\n

Made by one of the greatest cabinetmakers of the late 18th<\/sup> century, this chest of drawers bears witness to the development of the Consulate taste and the work of some of its major figures. Its illustrious provenance traces the history of the furnishings of the great state residences of the early 19th<\/sup> century, and puts it among the finest pieces of furniture of the period.<\/p>\n","protected":false},"author":3,"featured_media":4943,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","inline_featured_image":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-4954","newsletter","type-newsletter","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":{"url_news1":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":438,"key":"field_64c00914a1189","label":"URL","name":"url_news1","aria-label":"","prefix":"acf","type":"url","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":437,"wrapper":{"width":"","class":"","id":""},"only_front":0,"frontend_admin_display_mode":"edit","no_values_message":"","wp-typography":"none","default_value":"","placeholder":"","wpml_cf_preferences":1,"_name":"url_news1","_valid":1}}},"mcc_id":null,"mcc_type":null,"mcc_status":null,"mcc_create_time":null,"mcc_send_time":null,"mcc_emails_sent":null,"mcc_delivery_status":null,"mcc_content_type":null,"mcc_archive_url":null,"mcc_long_archive_url":null,"mcc_plain_text":null,"mcc_content_html":null,"mcc_recipients":null,"mcc_list_id":null,"mcc_list_name":null,"mcc_segment_text":null,"mcc_recipient_count":null,"mcc_settings":null,"mcc_tracking":null,"mcc_social_card":null,"mcc_report_summary":null,"mcc___links":null,"mcc__edit_lock":null,"mcc__edit_last":null,"_links":{"self":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4954","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter"}],"about":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/types\/newsletter"}],"author":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/comments?post=4954"}],"version-history":[{"count":2,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4954\/revisions"}],"predecessor-version":[{"id":4956,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4954\/revisions\/4956"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media\/4943"}],"wp:attachment":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=4954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/categories?post=4954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/tags?post=4954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}