Pair 19th Century King and Queen Compatible Marble-Top Commodes or Chest

$112,500.00

Pair of 19th century king and queen compatible marble-top commodes. Each having a white and grey serpentine marble top above two deep drawers decorated sans traverse and ormolu mounts atop slightly curved legs with bronze sabots. The King with parquetry inlay of strong and subtle form. The Queen commode with fine detailed feminine floral inlay. Both with all-over bronze design. The bronze corners signed. Both commodes signed, upper corners, PA FOULLET, Pierre Antoine Foullet. A most impressive pair of palace sized cabinets.
Son of Antoine Foullet, Pierre-Antoine Foullet, cabinetmaker, marqueteur, wins his letters master in 1765. He started working in his father’s workshop in rue du Faubourg-Saint-Antoine, but following a bankruptcy filing in 1769, he resumed his activity in the rue de Charonne, where he will remain until about the 1780s. It is unclear whether he worked with his father but its production is abundant, composed mainly of chests is very close to a chest of drawers of Transition style, preserved in the museum of Stockholm and bearing the stamp of Antoine Foullet.

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Pair of 19th century king and queen compatible marble-top commodes. Each having a white and grey serpentine marble top above two deep drawers decorated sans traverse and ormolu mounts atop slightly curved legs with bronze sabots. The King with parquetry inlay of strong and subtle form. The Queen commode with fine detailed feminine floral inlay. Both with all-over bronze design. The bronze corners signed. Both commodes signed, upper corners, PA FOULLET, Pierre Antoine Foullet. A most impressive pair of palace sized cabinets.
Son of Antoine Foullet, Pierre-Antoine Foullet, cabinetmaker, marqueteur, wins his letters master in 1765. He started working in his father’s workshop in rue du Faubourg-Saint-Antoine, but following a bankruptcy filing in 1769, he resumed his activity in the rue de Charonne, where he will remain until about the 1780s. It is unclear whether he worked with his father but its production is abundant, composed mainly of chests is very close to a chest of drawers of Transition style, preserved in the museum of Stockholm and bearing the stamp of Antoine Foullet.

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