Jean-François Oeben, maître in 1761.

Of beautiful proportions, this occasional table is decorated with the elegant cube parquetry which is so characteristic for Oeben's oeuvre and described in the 1763 inventory of his stock as 'plaqué à dés', combining tulipwood, rosewood and sycamore.


THE GOÛT GREC

The elegant rectilinear form, Greek key borders and idiosyncratic inlaid circle to the parquetry panels demonstrate perfectly the revival of Classical motifs and forms of the 'goût nouveau', as it was described in the inventory of Oeben's stock following his death. The combination of greek key motif, cube parquetry and distinctive inlaid circle is similarly seen on a secretaire by Oeben currently preserved in the musée du Louvre (OA 5166). The beautiful mounts on the present lot with sinuous chute-de-piastre motif appear on a number of works executed by some of the greatest ébénistes of the 18th century, including a writing table by Jean-Francois Leleu (one of Oeben's apprentices) in the V& A, London (inv. no. 1017:1 to 3-1882), a small writing table with similar parquetry by Léonard Boudin in the Metropolitan Museum of Art (inv. no. 1975.1.2023) and a writing table by Bernard II van Risenburgh (BVRB) sold Christie's London, 12 November 2020, lot 14.


This new style, also called le goût Grec, was introduced in the mid-1750s by the architect Louis-Joseph Le Lorrain. Probably working in collaboration with a marchand-mercier such as Simon-Philippe Poirier, Le Lorrain's goût Grec style was first expressed in the designs for the celebrated suite of furniture supplied for the Parisian hôtel of the amateur Ange-Laurent Lalive de Jully circa 1775. The style strongly revived Classical motifs such as those found on this table, and from the mid-1750s, Oeben became the major supplier of furniture in the 'new style' for Madame de Pompadour, a significant achievement as she was one of the primary arbiters of taste during the period.

JEAN-FRANÇOIS OEBEN

An ouvrier libre in July 1749 when he married Françoise-Marguerite van der Cruse, sister of Roger van der Cruse (R.V.L.C.), Oeben rapidly gained popularity and on 1 December 1751, he signed a contrat d'apprentissage with Charles-Joseph Boulle. He was in fact already trained and rented part of the workshop and lodgings in the Louvre occupied by Charles-Joseph, one of the sons of André-Charles Boulle, and, from 1752, delivered furniture through Lazare Duvaux to the marquise de Pompadour. When Charles-Joseph Boulle died in October 1754, the marquise de Pompadour must have intervened on Oeben's behalf in order to obtain for him the title of ébéniste-mécanicien du Roi and a lodging in the manufacture des Gobelins, which he was granted on 15 December 1754. Oeben received numerous royal commissions throughout his career, the most significant of which was for the King's cylindre bureau at Versailles, began in 1760 but completed and delivered after his death by Riesener in 1769.

POWERSCOURT

Powerscourt, one of Ireland's great historic homes, was granted to the Wingfield family by James I in 1609 and the house and formal gardens were largely redesigned by the architect Richard Castle in the 1730's and 1740's. Though it is not known when this table entered the collection, the age of the label suggests it may well have been acquired by the 7th Viscount (d.1904) who was an inveterate collector and well-known connoisseur who spent considerable sums ornamenting the house, its interiors and gardens. He was deeply involved in the National Gallery of Ireland, Chairman of the Art Union of Ireland, President of the Royal Dublin Society and an avid supporter of the Royal Hibernian Academy.