" ...in the style of all the Louises... "
Fine furniture arguably reached its zenith in terms of construction and style during the 1700s, and it happened in France. When it comes to 18th century French furniture styles, there are three that predominate, and each one corresponds to the rule of a specific French monarch. It just so happens that all three of these guys were named Louis.
Note to readers: I’ve been a rabid fan of the European fine and decorative arts for decades, and thanks to the scope of operations of a manufacturing and interior design firm I’d founded and operated, I’m fortunate to have also been a collector. In this article, you’ll see photographs of some killer pieces of period furniture – museum quality to be exact. All of the photos in this article feature pieces from my former corporate collection. So, am I qualified to write an article spouting off about 18th century French furniture styles? Does my history as a collector make me a fine and decorative arts expert? I’ll answer those two questions with another question: Can I imagine anything sharpening my own research skills and whetting my own appetite for knowledge more than the prospect of dropping a whole bunch of dead presidents on a world-class piece of period French furniture? Nah. I can’t. I believe it was Voltaire who once wrote “You better know your shit, bro.”*
*This point is driven home perfectly by the buying practices of the brilliant Thomas Hoving of The Metropolitan Museum of Art. Click here to read “Thomas Hoving and The Metropolitan Museum of Art: A Review of Hoving’s Memoirs.”
Of further note: This article will be addressing the 18th century French furniture styles as they pertain to Parisian furniture. The furniture designed and fabricated in Paris – for the French Crown and the Parisian nobility and upper classes – differs in character, appearance, and form detail from that designed and built in the provinces, and intended for a provincial customer base. Although the styles of Parisian and corresponding provincial French furniture share similar, basic reference points and the same integrity and quality of construction, the differences in character, appearance, and materials used of and in Parisian furniture vis-à-vis French provincial furniture are overt and dramatic…
This one’s all about the stuff from Paris.
18th Century French Furniture Styles: Three Kings, a Regent, and a Couple of Emperors
French furniture has been the subject of countless books, discussions, lectures, and college curricula for centuries. In terms of construction and style, French furniture is widely considered to be the best of the best (although if you run your mouth about this while you’re in England, Italy, Spain, or any of the Bavarian or Low Countries, you’re probably gonna get some blowback). As far as its integrity of fabrication (French furniture making guilds had been in existence from early in the middle ages through 1791), and its design (some of the world’s greatest architects, sculptors, painters, and designers – and of course, rulers – have had a hand in what this stuff looks like, and how it functions), however, French furniture has indeed reigned supreme in the court of global opinion and, historically, in the global market, as well. Its ubiquitous presence in museum and private collections, and traditionally outlandish auction prices (though in recent years, the market has suffered) have helped to serve as validation of this point. But this article is about 18th century French furniture styles, and with the exception of a (very) little history and a (very) little style talk about what went on before and after the 18th century, 18th century French furniture styles are the ones I’m sticking with today. And why not? The 18th century is universally referred to as The Golden Age of French Furniture.
Three Kings: Louis XIV, Louis XV, and Louis XVI
Any discussion of 18th century French furniture styles includes a direct association of those styles with a respective French monarch. What does the look of a piece of furniture have to do with a French king? As it turns out, everything. This is because the French monarchy had always – from long before the dawn of the 18th century – played an integral part in the fostering and development of the nation’s furniture stock, particularly the stock that was fabricated in Paris. Long before the first of our three Louises in today’s discussion took the throne, the French Crown was exerting its influence and attracting the best artisans, artists, and designers to its courts. King François I and his son and successor, King Henry II, of the House of Valois-Angoulême, took French Early and High Renaissance furniture styles in new, wild directions in the 1500s by retaining Italian Mannerist painters Rosso Fiorentiono and Francesco Primaticcio (who was also a sculptor and architect) to incorporate the fluid, busy, exaggerated and heroically-proportioned subject matter of Mannerism into the design of French High Renaissance furniture. The French crown also both fomented and relied heavily upon the unparalleled skills of the many insanely gifted and impeccably trained ébénistes, menuisiers, and other artisans of France’s famed furniture making guild system. The French Crown and French furniture styles, design, and fabrication quality and methodology have been inextricably linked for centuries. This tradition continued, of course, throughout the 1700s.
The stars of today’s RGG show, the monarchs of 18th century France, each retained at least one court furniture maker and designer throughout his respective reign, designated and utilized any number of shops as “royal manufacturers,” impacted and, in some cases, dictated standards of practice, identification, and inventory of guildmember furniture making firms, and operated as direct, and sometimes, sole patrons of a number of those very firms (particularly, those designated as royal manufacturers). So, who were these guys? Who were the kings who had entire furniture styles named after them during The Golden Age of French Furniture?
Louis XIV: The French Baroque Style – Big, Formal, and Ornate. Louis XIV, the Sun King, holds the record as the longest reigning monarch – of any country in the world – in history. Born into the House of Bourbon, he was France’s king from 1643 until his death in 1715. This is the cat who built the Palace of Versailles, and who expanded France’s place in the world through global exploration, trade, and conquest. Louis XIV was a guy who did everything in a huge and showy way – including amplifying the implementation of French Baroque style in furniture design and construction. Although much of his reign took place in the 17th century, and the French interpretation of the wildly popular and pervasive European baroque style was forever tethered to Louis’ name during that period, his power and influence – in terms of both affairs of state and affairs of taste – would ensure that the solid presence of that Louis XIV Baroque would persist into the 18th century, and influence subsequent furniture styles in his country and throughout the world over the course of the 1700s. Louis XIV Baroque furniture can be characterized, overall impression-wise, as formal, rectilinear, ornate, and massive in general appearance. It’s often substantial in dimension and heft, and often replete with carved or applied bronze doré (gilt bronze) or brass embellishment, and columns and colonnades. Woods commonly used were walnut, European oak, chestnut, ebony, and any number or combination of ebonized wood species. Throughout much of the 17th century, the style was inorganic, meaning that the only “movement” in a particular piece’s design might come from turned columns, “bun” or “hooved” feet on chairs/tables/cabinets, periodic curves or arches, applied gilt bronze or carved festoons, and an occasional human figure or two. With a few exceptions, it differed in this way from the Italian Baroque, which featured a great deal of movement and employed more organic and Mannerist-influenced design characteristics in its design and construction. Again, Louis XIV’s French Baroque did feature some curved lines, arches, and planes, but again, the overall impression of the furniture was generally solid, formal, grand, and rectilinear.
One particularly famous piece (and, ultimately a type) of furniture to emerge from the earlier years of Louis’ reign, and that would become acutely emblematic of the Louis XIV French Baroque style, was the bureau Mazarin, named for Cardinal Mazarin, Chief Minister of France, and one of Louis XIV’s most trusted advisors. This was essentially a kneehole desk with eight substantial, straight, square, and tapered legs, connected to each other with X-shaped stretchers. It was a textbook example of the Louis XIV 17th century French Baroque style, and it would serve as a precursor and stepping stone for the evolving versions of this style that would ultimately persist into the 18th century.
A common ornamentation conceit of Louis XIV Baroque furniture is the application of Boulle work, which is the use of tortoiseshell, brass, pewter, and/or other materials as inlay on a particular piece of furniture’s (usually) vertical planes. The art of Boulle work was named for its inventor and original proponent, the ébéniste André-Charles Boulle (1642-1732). Boulle was the rock star of rock stars among the rarefied strata of 17th and early 18th century French furniture makers. He remained under the patronage of the French crown from the late 1660s until a few years after Louis XIV’s death, and was recognized as Paris’ premier cabinet and furniture maker throughout his lifetime. He absolutely was Louis XIV’s main man until the king’s death.
As Louis’ reign progressed throughout the late 17th century and extended into the early 18th century, French furniture styles began to incorporate and reflect more organic, natural design cues. This came about as a result of Louis’ transoceanic explorations of, and forays into trade with the countries of Asia and the Far East. A great deal of André-Charles Boulle’s later work output (including his famous 8-legged commode) coincided with these explorations and forays, and incorporated many of the resulting organic design elements. Louis XIV’s Baroque persisted into the early 1700s and can legitimately be considered one of the Big Three of French 18th century furniture styles. But, as you’ll read below, a derivative, intermediary style emerged from Louis XIV’s Baroque that referenced that grandiose Baroque style, yet incorporated those transoceanic, organic influences, and offered glimpses of the next great 18th century French furniture style associated with the next great 18th century French king. We’re going to be checking out that great king and his associated great furniture style momentarily. But first, a little about that intermediary style…
Régence: The Regency of Louis XV. When Louis XIV died in 1715, the successor to his throne – his great-grandson, Louis XV – was five years old. Because he was a minor (and would be considered one until the age of thirteen, which was the age of majority in France at that time), the installation of a regent was required to rule on Louis XV’s behalf until 1723, when the young King would be old enough to rule. From 1715 through 1723, Louis XV’s uncle, Philippe II, Duke of Orléans, served as Regent of the Kingdom of France. The associated furniture style of the Régence period was known simply as “Régence.” In reality, it was a direct precursor to the next great 18th century French furniture style, Louis XV Rococo. Like the Rococo (which you’ll read about next), French Régence furniture employed, among other details, the organic, natural conceit of curves (like cabriole legs – you’ll read and see more about those soon) and embellishments reflecting items from nature, such as leaves and seashells. But the key feature to remember when identifying French Régence furniture (and differentiating it from Louis XV Rococo) is symmetry. The right side of a piece of Régence furniture is the mirror image of the left side. If there’s a foliate or shell cartouche embellishing a table’s frieze, it will be perfectly symmetrical. The right half is always the mirror image of the left half. By the time young Louis XV assumed full rule of France in 1723, the Régence style was already yielding to the next big thing: Louis XV Rococo.
Louis XV: The Rococo Style – Asymmetrical and CurvySexyBeautiful (just like Louis’ girlfriends). Louis XV, of the House of Bourbon, was King of France from 1715 until his death in 1774. By the time Louis reached the age of majority and assumed sole rule of France in 1723, the development of the Rococo furniture style was well on its way. By approximately 1730, Louis XV Rococo furniture was displaying its florid, curvy, tortured and twisted, yet supremely elegant hallmarks. Louis, with his associated Rococo style right beside him, would prove to be the most impactful, influential, and longest ruling (his reign of 59 years was second only to his grandfather and predecessor, Louis XIV’s in duration in the history of France) monarch – and style – of 18th century France. Louis’ reign was marked by mixed reviews in terms of his handling of affairs and finances of state, but he was undoubtedly celebrated as a lover and patron of the arts and architecture, and his reign coincided – and augmented – the flowering of The Age of Enlightenment, and the French thinkers and writers with whom it’s associated. And although he was happily married to his wife, Queen Marie of France, Louis XV had mistresses. Lots of mistresses. Lots and lots of mistresses. Some of them even inspired the design and fabrication of certain famous pieces of furniture. In fact, it was Louis’ passion for beauty (including the beauty of any number of women) and the arts that would impact 18th century French furniture styles, from their conception and design, through Louis’ own selection of the very men who would provide those designs and execute their fabrication and ultimate manifestations.
Before we talk about the “who,” or rather the “whos,” behind the creation of Louis XV’s killer Rococo furniture style, let’s talk about the “whats.” For starters, the name “rococo” is a contraction of the French phrase “rocaille et coquille,” which translates in English to “rock and shell.” And that’s what the Rococo furniture style is: a style that incorporates natural, organic forms (like seashells) and extrapolates their interpretations to create overtly twisted, asymmetrical, yet sinuous and high-movement furniture forms. Louis, evidently himself a lover of all things curvy (again with the girlfriends), naturally embraced this conceit. Louis XV Rococo took its immediate predecessor, French Régence, to new heights of design and construction that ranged from the wild, ornate, and twisted – yet undeniably beautiful and breathtaking – to exceptionally refined (yet still, asymmetrical, and of course also undeniably beautiful and breathtaking), and, above all, curvy. Always curvy. Louis XV Rococo pieces are indeed curvy, and are beautifully veneered (woods such as mahogany, rosewood, tulipwood, and kingwood were frequently used) and embellished with incredible marquetry and ornate gilt bronze ormolu mounts, or are heavily carved and gilded. Chairs and tables feature the sinuous, sumptuous S-shaped cabriole legs, whether veneered or carved. Friezes and legs feature such organic-referencing embellishments as acanthus leaves and seashells. And any cartouche adorning such a frieze, although centrally placed, is never symmetrical in shape – there is always more (or at least differently shaped) swirls, curls, and twirls on one side than the other. The details of these embellishments, as well as the general theme of each piece, always display assymetry. As nothing in nature is ever fully symmetrical, neither are Louis XV Rococo furniture forms.
In terms of furniture design and fabrication, Louis XV’s men of the hour were Jean-François Oeben, Jean Henri Riesener, and Gilles Joubert. These three guys were the primary “whos” behind the “whats” of the Louis XV Rococo furniture style. Oeben, the most precocious and second oldest of the three, was appointed Louis XV’s Ébéniste du Roi, or, royal cabinet maker, in 1754. Oeben was all about full-on Rococo style, and he trained the younger, but equally celebrated and skilled Riesener. The famous Louis XV Bureau du Roi was designed and begun by Oeben, and finished after his death by Riesener. Joubert, the oldest of this triumvirate, became Ébéniste du Roi in 1763 upon the death of Oeben. Riesener became Ébéniste du Roi in 1774, and continued in this capacity throughout Louis XVI’s reign. These master ébénistes, during the 1760s, began experimenting with a style that would become known as Louis XV-Louis XVI Transitional. This incorporated the sinuous cabriole legs of the full-blown Rococo with the more staid, architecturally-inspired “boxy” casework of the coming Louis XVI Neoclassicism. Although all three of these men were legitimate, French Crown-recognized proponents of Louis XV Rococo, they also became harbingers and emissaries – and ultimately leading proponents – of the next and last of the great 18th century French furniture styles: the regally sumptuous, linear, yet intricately appointed and detailed, Louis XVI Neoclassical Style.
Louis XVI: Neoclassicism – Inspired by Classical Architecture, Clean of Line, Straight of Leg, and Sumptuously Appointed. Louis XVI, the last of the French Bourbon kings of the 18th century, is, unfortunately, probably best known throughout history for being deposed and executed, along with his wife, Queen Marie Antoinette, during the French Revolution. Louis reigned from 1774 until 1792, when the French monarchy was abolished during the Revolution. In addition to his deposition and execution, Louis XVI was known for other things, including a whole laundry list of undeserved bad raps (criticism for supporting the American colonies in their fight for independence from British rule during the American Revolution is one of them). Louis was a sensitive and sensible ruler who embraced the spirit and the ideas promulgated by France’s (and the world’s) great Age of Enlightenment thinkers. He also was a lover of beauty and the arts. It’s for these ideological proclivities that he’s recognized right here on The Renaissance Garden Guy, right here in this article, as a super-important guy within the context of the magnificent 18th century French furniture styles.
So what was the Louis XVI Neoclassical furniture style all about? In a nutshell, it was about looking like buildings from ancient Greece and Rome built throughout the period of Classical antiquity between roughly the 8th century BC and the 5th century AD. Louis XVI Neoclassical Period furniture, like the ancient structures that inspired it, featured generally straight, overall rectilinear lines (although in addition to being cubed/square or rectangular, cabinet cases could be anywhere from demilune, pie-shaped and bow-fronted [encoignure], oval, or even cylindrical), and though often rectilinear, chair backs could be oval, or even circular, and chair seats could be bow-fronted. But one constant feature is the straightness of neoclassical furniture’s legs. These could be in the form of square or round fluted or reeded columns, with some sort of embellishment (either gilt bronze mounts or carving) adorning their tops, representing the capital at the top of a column of an ancient Greek or Roman building. Many pieces of Louis XVI Neoclassical furniture are designed and built to reference any one of the five orders of classic architecture and will feature straight legs that approximate Doric, Ionic, Corinthian, Tuscan, or Composite columns with carved or applied gilt bronze capitals and sabots (shoes). Tables often feature an entablature and frieze adorned with carved or applied bronze doré embellishments in such forms as festoons or swags of laurel leaves, wreaths, Greek key (meander), mythological creatures and deities, and even heraldic emblems. Furniture can be carved and stained, gilt, or painted, or can be beautifully and often intricately veneered. As with Louis XV furniture, woods such as mahogany, rosewood, tulipwood, and kingwood were often used in the veneering of this furniture. When you think of Louis XVI Neoclassical Period furniture, think of straight and clean lines, beautiful and sumptuous detail, and… the Parthenon (I’m totally serious – again, Louis XVI Neoclassical furniture was designed and built with Greek and Roman architecture from Classical antiquity in mind). Get the picture?
The Age of Enlightenment corresponded with, and encompassed the span of Louis XVI’s reign. Louis XVI personally and diplomatically espoused the beliefs and the spirit of the thinkers and writers of the Enlightenment, who in turn espoused the writings of the philosophers, poets, and playwrights of Classical antiquity. As Classical thought was manifesting itself in France through the spirit of the Enlightenment, so too was Classical design. It’s to Louis’ credit that he embraced both the theories and the physical beauty of Classical antiquity (catalyzed and popularized in his time by the thoughts and works of his contemporaries, the Enlightnment thinkers) and ultimately fostered and magnified the Neoclassical Furniture style. And right by Louis’ side was his Ébébiste du Roi, Jean Henri Riesener, who, along with his fellow furniture makers and designers, would send a wave of furniture out into 18th century Paris, and ultimately out into the world at large, that was imbued with a timeless style, and crafted in the French guilds’ singular flawless fashion, which would bond their king’s name forever to the beauty and brilliance of Classical antiquity, and allow that king to be remembered not just for his denouement, but also – and even more so – for his great strengths, insights, and passions.
And, from the standpoint of this mother’s son, that’s the whole Louis XVI Neoclassical furniture package.
Directoire and Consulat Style: France as a Republic. These are the furniture styles that corresponded with France’s first identity as a republic after the fall of the Bourbon Dynasty and the death of Louis XVI. The French Directory was a five-member governing body set up in the aftermath of the fall of the monarchy and overthrown by Napoléan Bonaparte in 1799, when he set up the French Consulate (and installed himself as its leader) to replace it. The Consulate persisted until the start of Napolean’s Empire in 1804. The furniture styles associated with this period in late 18th century French history correspond with the associaction of France’s republican identity with the Republic of Ancient Rome. These furniture styles incorporated elements associated with campaigns of war and conquest. Pikes, arrow quivers, horns used by the ancient Greeks and Romans representing the administration of justice and/or the commencement of battle (salpinxes, tubas, and cornua), and even exotic animal/exotic land motifs were incorporated. These styles were the immediate precursor to the full-blown French Empire style, and they represented the last of the 18th century French furniture styles.
Emperor Napolean I and the French Empire Style. Napoléan Bonaparte (known as Emperor Napolean I) is considered one of the finest, and most successful military strategists in history. He was the architect and enforcer of the French Empire, and his far-flung global conquests were reflective of his ambitions. The French Empire style coincided with his tenure as French Emperor from 1804-1814. Although this furniture style corresponds to a period of time in the early 19th century, rather than the 18th century, I thought it was important to note since Napolean’s ambitions, and, in fact his capacity as a French political leader, find their origins in the late 18th century. The French Empire furniture style is essentially a continuation and amplification of the Directoire and Consulat styles. Military campaign and conquest themes persist, along with more overt references to ancient Greece and Rome, as well as Napolean’s conquest of Egypt. Throughout the time of its popularity, French Empire style combined neoclassical sensibilities with grand embellishments of ancient and current military conquests.
” …in the style of all the Louises… “ Napolean III (Charles-Louis Napoléon Bonaparte) was Emperor Napolean I’s nephew, and the ruler of France as emperor during the period known as France’s Second Empire (1852-1870). Unlike his famous uncle’s reign, which effectively began, and was influenced by events that transpired within the period of the 18th century, Napolean III’s reign took place in the second half of the 19th century, and the gentleman himself has no direct relevant connection to 18th century France. So why are we even talking about him? This article is, after all, about 18th century French furniture styles. Two reasons; and the first arises as a direct result of the second. First reason: ” …in the style of all the Louises… “ is the title of this article. And it’s a title that comes from a frequently used quote to describe the Napolean III French Second Empire furniture style. Now, for the second reason, which begets the first… Just like the quote suggests, you can usually find all of the Big Three 18th Century French Furniture styles in one single piece of Napolean III Second Empire Furniture. Hence, ” …in the style of all the Louises… ” Furniture designers and tastemakers, in an overambitious attempt to emulate the grand 18th century French furniture styles, incorporated all three in the ornate amalgam that would come to be known as Napolean III’s Second Empire style – the style of all the Louises. In the pictorial example here, you’ll see Louis XIV ebonizing and Boulle work, Louis XVI female terminal figures and swags, and a curvy, demilune Louis XV shape, all present in one single Napolean III cabinet.
18th Century French Furniture Styles: A Framework for Verification
Just because a piece of French furniture looks like it’s a period 18th century piece doesn’t necessarily mean that it is an authentic period piece. Remember, from some of the photos above, that there were any number of excellent Parisian makers working in the 19th century and crafting revival pieces that mirrored the 18th century French furniture styles. So, how do you know when you’re dealing with an authentic piece of period 18th century French furniture? I’m going to be brief here and essentially just simply paraphrase, as this is a loaded topic. The means of verifying 18th century French furniture’s authenticity is an extremely extensive subject to which countless books have been dedicated. So here, I’m just going to lob a few concepts in your direction.
Identifying the age of materials used in the manufacturing process. Certain woods were used in France throughout the 1700s in the furniture manufacturing process. Knowing these woods is a basic starting point. Warp, shrinkage, and wear of these woods, as well as the presence of wormholes (caused by boring insects) can indicate substantial age. Square, hand-cut nail heads and or wooden pegs and dowels, and hand-machined screws are generally common in the 18th century manufacturing process.
Identifying construction techniques and incidental signs of the fabrication process. Construction techniques such as mortise and tenon, dovetailing, and doweling/pegging joinery utilizing square cutting and hand-machining are generally indications of pre-19th century furniture making techniques, as is hand sawing and hand planing, which can usually be identified by the uneven, telltale marks (usually “swirly” and uneven) left by the saw’s teeth or the plane’s blade as it was hand worked through its cuts into, through, and across the wood.
Guild marks, signatures, etc. As written earlier, the French furniture guilds had been in existence from early in the Middle Ages until 1791, when they were abolished during the French Revolution. From 1743 until 1791, all French furniture makers were required, by the guilds, to stamp each piece of furniture they manufactured with their individual names. Many times, an individual furniture maker would include an incised signature, as well. A committee of elected guild members conducted inspections four times per year of all guild members’ fabricated works. Once a piece of furniture was approved by this committee, an additional stamp, “JME,” which stood for jurande des menuisiers-ébénistes was added. Furniture that did not meet the standards established by the committee and therefore did not receive the JME stamp, was forbidden from being sold, and was confiscated by the committee. (A substantial number of 18th century pieces with the maker’s stamp, but lacking the JME stamp, confiscated in this manner, have nevertheless survived and have found their way into the hands of collectors.) The furniture maker’s stamp, with or without the JME stamp, ensures that a piece of French furniture was made between 1743 and 1791 (assuming the stamp is genuine, and further assuming it has survived and remains legible and/or viewable – many legitimate pieces of French furniture lack the stamp as a result of damage, wear and tear, or intentional removal). Additionally, console tables from this period are not stamped (although incised signatures can sometimes be found) because the guilds did not require makers of these beautiful art forms to do so. Unless you’re lucky enough to find a verifiable signature on a particular console table, or unless it’s fitted with a piece of gilt bronze with a crowned C mark (you’ll read about this immediately below), you’ll need to trace it to the 18th century by ascertaining the type and age of the materials used in its fabrication, and by examining the construction techniques and the telltale residual signs of those construction techniques. Hey, who said life was fair?
The “crowned C” tax mark. The gilt bronze mounts and embellishments on a particular piece of 18th century furniture can sometimes be used to establish a manufacturing date, but the range of dates is very narrow. From Februay of 1745 through February of 1749, a tax stamp was used as a result of an impostion of a tax on worked bronze pieces above a specific weight. The image of a “crowned C,” for cuivre (copper), which was a primary component of bronze, was stamped into an inside or underside surface of a particular piece of bronze (in the case of our discussion, a furniture mount) above a specified weight. Obviously, only furniture manufactured and embellished with bronze within this range of dates can effectively be dated in this manner. Further limiting the crowned C mark as an effective dating tool is the fact that only bronze items above a certain weight would receive this tax stamp.
Royal furniture makers. The individuals, and their corresponding shops, designated by the monarchy as royal furniture makers were exempt from guild restrictions and rules. Although these makers would sign and/or stamp their work with their names, and/or the names of their shops, the French crown would often employ a specific inventory system that would involve the marking of a particular piece of royal furniture. This inventory system, and these marks, can and will vary from one court to the next, and sometimes even within the same court. Many pieces of royal furniture from 18th century France that survive today are in museums or in the hands of uber-wealthy, private collectors.
French Furniture Styles in the 19th Century: The Belle Époque
Any discussion of 18th century French furniture styles would be incomplete without at least a passing glance at the Belle Époque period, which, in English, literally means “the Beautiful Era.” This period in French history, from 1871 up until the outbreak of World War I in 1914, corresponds roughly, chronologically and otherwise, with the American Gilded Age.
The importance of a short Belle Époque discussion is relevant here because the Belle Époque represents a time of prodigious revival of the magnificent 18th century French furniture styles. During this period, French master furniture makers and designers like François Linke (and his collaborator, sculptor Léon Messagé), Henry Dasson, Victor Raulin, Paul Sormani, Joseph-Emmanuel Zwiener, and Henri Honoré Plé (often as a collaborator), revived, replicated, and/or “re-invigorated” the grand 18th century styles. These 19th century masters would design their furniture as exacting revivals of those great styles, and exacting replicas of particular examples of those styles, or they would design and fabricate their own pieces as breathtaking interpretations of those styles. A Linke or Raulin take on a Louis XV piece of furniture is often described as “Louis XV-Plus,” or “Louis on Steroids.” These 19th century artisans, in addition to having the advantage of “standing on the shoulders of the giants” who’d come before them, also had technology on their side. Advances in tooling and machinery allowed these insanely talented men to implement the time-honored fabrication techniques of the previous century with the assistance of greater accuracy, speed, and power. The master furniture makers and designers of the Belle Époque have paid the sincerest form of tribute to the 18th century French furniture styles (and to the masters who brought those styles to glorious, tangible life) with their own referential masterpieces created during the latter part of the following century.
Recommended Books
In keeping with typical RGG fashion, this article contains some product recs. Books, this time. (Not furniture.) An invaluable triumvirate, nonetheless, for slaking your thirst for further knowledge of 18th century French furniture styles. Here you go:
Antique Furniture, by John Andrews, from The Antique Collectors’ Club “Starting to Collect” Series. When sifting through the incredible 18th century French furniture styles, you’ll want to be armed with a reference book or three. And if you’re actually thinking about investing your hard earned dough in a killer piece of 18th century French furniture, I’ll tell you two things: 1) It’s a major buyer’s market these days, so your timing is perfect, and 2) buy this book. It’s surprisingly comprehensive and will give you the basics you’ll need to understand not only the ins and outs of French furniture, but other European and American styles, as well. It’s a remarkable resource, not only as an introductory read, but as a book you can keep with you if you ever find yourself eyeball to eyeball with a Régence Period buffet à deux corps that you simply can’t do without, but have no effin’ idea what a buffet à deux corps even is. To learn more, or to order this excellent little book directly from Amazon, please click the #advertisement link.
Dictionary of Furniture, by Charles Boyce. Second Edition. This amazing book, of which I own the second edition, and have owned the first edition (which, sadly, was destroyed in a flood years ago), provides incredibly concise, detailed descriptions, histories, and definitions, along with illustrations, of virtually every single component and element of virtually every conceivable furniture style from virtually every conceivable period and country. With this book, a budding collector will be incredibly well equipped to venture into the waters of the discussion of (and acquisition of pieces from) the great 18th century French furniture styles. There is also now a third edition of this amazing book available, though I don’t own it. To learn more about the second edition, or to order it right here, directly from Amazon, please click the #advertisement link.
Dictionary of Furniture, by Charles Boyce. Second Edition.
Click here to learn more or to order
#advertisement
The Encyclopedia of Furniture, by Joseph Aronson. Third Edition. I cannot emphasize enough the importance of this masterpiece as a reference for any collector, curator, or student of the decorative arts. This book is packed with over 2,500 entries and over 2,000 photographs and illustrations. It offers museum-level insight into the form, construction, components, and design elements of, as well as history surrounding every French furniture style from the 1100s through the 20th century. Its section on the 18th century French furniture styles is incredibly detailed and illustrative. Author Aronson offers historical perspectives at virtually every turn to help fully inform his study of these majestic styles. Want to invest in French furniture? Of any style, or of any period? You’ve gotta get this book. Click the #advertisement link to learn more, or to order it right here, directly from Amazon.
The Encyclopedia of Furniture, by Joseph Aronson. Third Edition.
Click here to learn more or to order
#advertisement
Et nous avons fini!
Yep, we’re done. You’ve got a basic handle on the players, including the Big Three – Louises number fourteen, fifteen, and sixteen – of 18th century French furniture styles. You’ve got the basic ideologies of the men themselves, and the effect each of those ideologies had on the furniture styles of their respective reigns. You’ve got some info on the guys who helped the Big Three implement those styles and transform them from notion into tangible works of decorative art. And you’ve got a handle on what each of those 18th century styles embodies in terms of both form and spirit. Plus, as part of this deal, you’ve even got some 19th century French furniture data to digest, and three excellent book recs to help you make even more sense of the whole ball of wax. Did I leave anything out? Hell, yeah. Plenty. But you’re busy, and, in any case, there should be enough here to hopefully pique your interest and point you toward a dreamy infatuation with the magnificent and unparalleled 18th century French furniture styles.
I appreciate your sticking around, and as always, I thank you for your incredibly kind interest and readership.
Cheers, and Happy Gardening!
The Renaissance Garden Guy is a participant in the Amazon Associates Program. As an Amazon Associate, I earn from qualifying purchases.
Please click here to view The Renaissance Garden Guy Disclosure page.
Unbelievable, John. You have written a text book of incredible knowledge to summarize this important era. Bravo! It was very impressive and shows your passion and commitment.
Bless your heart, Thea Becky. Thank you so much. I’m so glad you found this piece informative, and that it held your interest long enough for you to get through it. It really is a fascinating subject that appeals to me, obviously, from the aesthetic standpoint, but also from the mechanical and structural perspectives. Not only was this furniture incredibly beautiful, it was also the world’s best constructed furniture. The fabrication methodology of those amazing styles from the 1700s persists to this day, and remains the basis for contemporary premium-grade furniture and cabinet manufacturing techniques. Amazing stuff – the great 18th century Louis furniture was designed and built by the greatest furniture and cabinet makers the world has ever known. Thank you once again, Thea Becky, for your interest and your kind words.
Loved this article, very interesting, informative and lots of knowledge! Absolutely fascinating…. I was actually searching for an expert’ but more for European paintings evaluation.
Great article 🌹🌹🌹
I’m glad you enjoyed the article, Roxxy. Thank you for reading it, and thank you so much for your kind comments. European paintings are another passion of mine, and I hope to write an article in the near future about, among other periods and schools, the Dutch Golden Age and the Flemish Baroque periods. Some of my very favorite works and artists are in that mix. (There are so many other great periods, schools, and artists, it’s tough to decide where to start!) But great period Louis furniture is also fine art, and the great artists, designers, and rulers responsible for it make for fascinating study, and are undoubtedly deserving of recognition. Thanks once again, Roxxy – I’m very grateful for your kindness and your interest.
Wonderful introduction to formal French furniture styles. A welcome expansion of the RGG’s many areas of knowledge and expertise.
Thank you so much, Rick. I appreciate your reading the piece, and I’m so glad you approve of its value as a legitimate overview of those grand styles. It’s such an extensive topic, I felt that a historical perspective/style summary combo might be the best way to introduce the topic to those unfamiliar with the ins and outs of the works of this period, and to provide additional clarification and direction for those already familiar with the subject and possibly intent on making acquisitions. I’m glad you liked it, and found it comprehensible. Thanks once again, Rick.
The level of scholarship demonstrated in this article is phenomenal. You have given your readers and subscribers a wondeful overview of this topic that would do any expert justice. I have found an 18th century French furniture expert right here on The Renaissance Garden Guy! Your passion for the subject is obvious.
I appreciate your reading the piece, Kevin, and I thank you for your incredibly kind praise. I’m so glad you found this article comprehensible and useful. I hope it will be of value to you throughout the course of your own collecting endeavors. This subject matter is so incredibly fascinating, and so rich and fertile, I could have gone on writing indefinitely! (I hope I stopped in time!) Thanks once again, Kevin – I’m so glad you liked this one.