A French 19th century Louis XVI st. mahogany, burl elmwood, and ormolu side table, after a model by Adam Weisweiler

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An exceptional and unique French 19th century Louis XVI st. mahogany, burl elmwood, and ormolu side table, after a model by Adam Weisweiler. The circular table is raised by elegant circular tapered legs with fine topie shaped feet and ormolu... — Read More

Item # 11767
H: 29.75 in L: 25.25 in D: 25.25 in
H: 76 cm L: 64 cm D: 64 cm
France
19th Century
Elmwood, Mahogany, Ormolu
Louis XVI st. Read More

(Louis XVI st.) - Also known as Louis Seize, Louis XVI's style is a style of architecture, furniture, decoration, and art created during Louis XVI’s 19-year reign in France, just before the French Revolution. Thought to be a reaction and juxtaposition to the prior more elaborate styles, Louis XVI style developed at the end of the Baroque Period and continued until the birth of French Neoclassicism. King Louis XVI showed little enthusiasm for the old world styles of the Baroque Period and he sought out a create a new “beau ideal” that focused on the purity and grandeur of Ancient Romans and Greeks. Inspired by Ancient Roman architecture and art, distinct features of the Louis XVI style are linear lines, small repeated motifs, floral medallions hanging from ribbons, acanthus leaves, urns, dolphins, ram, and lion heads, and griffins. Greco-Roman elements, often used in earlier and later French styles, were also quick common and included fluted and twisted columns, Caryathids, and corbels.

Adam Weisweiler Read More

Adam Weisweiler (1750 — 1810) was a renowned French master cabinetmaker (ébéniste) in the Louis XVI period, working in Paris. Weisweiler worked notably for the marchands-merciers, who alone could supply him with the Japanese lacquer panels that, combined with ebony and refined gilt-bronze, characterize some of his finest work. Weisweiler supplied the writing table of steel, lacquer and ebony and gilt-bronze for Marie Antoinette at the château de Saint-Cloud in 1784. Also furniture for the Prince Regent (later George IV) at Carlton House, London. Weisweiler specialised in small refined pieces, with fine lines, delicate legs with light interlaced stretchers, and gilt-bronze low-relief plaques and mounts, often decorated with panels of Japanese lacquer and Sèvres porcelain plaques, even panels of pietra dura. Weisweiler weathered the Revolution and in 1810 he was supplying Queen Hortense and collaborating with Pierre-Philippe Thomire. After his retirement, his son Jean Weisweiler continued the workshop until 1844

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