Pretot (1812-1855)-cabinet At Support Height In Boulle Polychrome Marquetry With Atlantes

Louis-Hippolyte-Edmée PRETOT (1812-1855), Cabinetmaker in Paris (1836-1855) - Luxurious cabinet with rectangular support height covered with an ebonized wood veneer enriched on its leaf and its uprights with cut sides of 'a virtuoso "Boulle" marquetry, in first and second part, in re-engraved copper, mother-of-pearl and tinted horn with patterns on a background of tortoiseshell or gilded brass, scrolls, flowered acanthus foliage, interlacing of flowered stems or twisted, shells,....Inspired by the work of Jean Bérain, taken up by Nicolas Sageot, these ornamental motifs form the framework for a dreamlike composition animated by birds, winged female busts and smoking monkeys accosting a fountain, a flower vase or perched under a canopy. A garnish of remarkably chiseled gilded bronzes punctuates its structure (moldings and baguettes with beautiful foliage motifs or cabochons alternating with flowers; acanthus rosettes and shell spandrels; lock entry with rocaille cartridge), embellishes it (mask of Apollo with knotted hair, of winged Asclepius) see the ennobled (Atlanteans with the image of the Marine God). Topped with a white marble top, it opens to a door revealing an interior veneered with mahogany and fitted with two shelves. Stamped on the reverse of the bronzes "H.P", monogram of the cabinetmaker and art bronzier L.H.E. Prétot. Creation to be compared to a piece of furniture today kept at the Château d'Espeyran ((RC 21 81). Louis-Philippe period, circa 1844-1849.
“A certain idea of ​​opulence”:
Covered on its frame with an ebonized wood veneer, this luxurious Cabinet at support height, of a sober and elegant rectangular shape, is adorned on its leaf, its cut-sided uprights with a clever marquetry in the augured tradition in the French decorative arts by André-Charles Boulle (1642-1732) and brilliantly continued by the no less talented Parisian master cabinetmaker Nicolas Sageot (1666-1701).
Executed first and second against a background of deep red tortoise shell or against a background of brass with dazzling luster, it unfolds with virtuosity, within an enveloping network of interlacings, volutes, foliage scrolls of acanthus stretching into graceful flowering or twisted stems punctuated with florets and flamed shells, a dreamlike decor directly inspired by the truculent ornamental bestiary fashioned by the "Draughtsman of the King's Chamber and Cabinet", Jean Bérain (1640-1711) . Thus, we observe two birds perched on a scroll of flowered acanthus coming to quench their thirst, wings outstretched, near a fountain; their heads crowned with flowers, two female figures with sheathed busts equipped with oceolate wings approach a vase plumed with delicate flowers. Under small canopies in the shape of ribbed shells, two seasoned smoking monkeys enliven the side cartels with their fanciful verve. These inlaid compositions of great delicacy in the profiles as in the work of re-engraving of the gilded brass are enriched for certain motifs inlaid with mother-of-pearl or tinted horn. Their iridescent or lively tones (chrome yellow, emerald green) provide richness and cheerfulness to the furniture.
Supported by split brass fillets forming a frame, a remarkably chiseled gilded bronze trim adds weight to the refined structure of this piece of furniture with the Louis-Fourteen style matinee silhouette of Louis XVI. Baguettes, rushes, ornate moldings of generous water leaves, ribbed acanthus, palmettes and bases, alternating flowers of ribboned cabochons punctuate its entablature, run along its base, adorn its leaf punctuated by a keyhole with a motif of flowered rocaille cartridge. Superb masks of winged Asclepius and Apollo with knotted hair adorn the sides enhanced with leafy shell spandrels and the scalloped plinth of the furniture. Highlighted by a rosette and acanthus foliage, its uprights are magnified by atlantean sea gods: the hips surrounded by the supple bodies of two dolphins leaning against a rugged shell surrounded by aquatic plants extended by a fleshy scroll of acanthus foliage, the head haloed with palm fronds, this sculptural effigy with its virile features and torso completes the adornment of gilded bronzes of this piece of furniture stamped hollow - on the reverse of the latter - "H.P". Monogram specific to the workshop of Louis-Hippolyte-Edmée Prétot (1812-1855), Parisian cabinetmaker also creator of bronze models associated with the architecture of his furniture.
Topped with a thick white marble top matching the shape of the frame, it opens with a door onto an interior in mahogany veneer. The latter presents two adjustable shelves with an edge adorned with an ebonized background of inlaid brass rods.
Harmony and weighting of the profiles, virtuosity and ornamental refinement skillfully "touched" with lively polychrome notes, shimmer and luster luster of the bronzes characterize this piece of furniture of great quality of execution. Probably designed during the 1840s, this piece of furniture, which is quite rare on the art market given the short career (1836-1855) of its "artist-cabinetmaker", is an integral part of the luxurious productions Parisian art cabinetmaking from the first half of the 19th century represented by the "aristocracy of talent" (Charles Dupin, 1851) of the time. Like his contemporaries M. Béfort, G.B Monbro, A.L. Bellangé, J.Cremer, J.Thuret or later Beurdeley, Zweiner, L.H.E Prétot, nourished "on Louis XIV (and Louis 1851) as models, authentic ornamental collections in this field, re-invents with creativity and sensitivity the "Boulle genre" very popular since the 1830s by the high society of the Romantic period.
 We will emphasize that our piece of furniture presents itself through its structure and even more through the ornamental motifs of the “Boulle-style copper marquetry colored with polychrome elements in the manner of the work of Nicolas Sageot” (C. Payne, 2018, p.491) of his leaves strong similarities with a piece of furniture commissioned in the 1840s by the rich family of merchants and bankers Sabatier d'Espeyran to the talented cabinetmaker in this decade, highly coveted by art lovers. Nowadays preserved (RC 21 81) at the Château d'Espeyran (Saint-Gilles, Gard), this piece of furniture considered by its biographer (Marie Prévet, 2017) as 'a precious witness to the aesthetic tastes of an era(..) , where inspiration from past centuries and contemporary creation mingle" was also executed "in return with pilasters representing the Atlanteans". This indication, supported by its dating (1848) and its stamp (Embossed mark of the monogram "H.P" on the reverse of its bronzes), allows us to assume a connection with the furniture that we are presenting.
In conclusion, we will hand over the pen to the chroniclers of the Exhibition of Industrial Products of 1849 praising the work of our cabinetmaker in these terms: "(..) we see the rebirth of the long neglected art of marquetry The Boulle of our time is called Prétot. (..) There, where his imagination might be in defeat, his memories can powerfully help him. It is the beautiful creations of André-Charles Boulle that inspire him .Mixing gold with ebony, copper with tortoiseshell is a very difficult art which requires from the artist who accomplishes it a great knowledge of the effect produced by each element. (...). It is this skillful artist who populates with masterpieces of cabinetmaking all the Salons of Europe, in Russia, in England, even in Italy, the classic land of mosaic and inlay" (L' National Assembly, Le Constitutionnel, July-August 1849).
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A “Cabinetmaker-Artist”: Louis-Hippolyte-Edmée Prétot (Paris, 1812-1855).
Of Parisian origin, L.H.E Prétot, "cabinetmaker and cutter in cabinetmaking and marquetry", established himself successively in the capital at 16, rue de L'Abbaye (1836), 11 bis rue Saint-Germain-des-Prés (1840-1844 ) then from 1846 at numbers 5-6 rue du Harlay in the Marais. This last address corresponds to the period of prosperity of his cabinetmaking workshop offering to a very select clientele "luxury and fancy pieces of furniture like Boulle, Reizner and those of Louis XV flowers" "very important bronzes for furniture , mosaics and inlays for Export" as well as "porcelain (from Sèvres, China and Japan), objects of art and curiosity of the Renaissance and Gothic taste" (1852). The extent of this activity associating luxurious "modern" creations of style (support furniture, sideboards, office cabinets, bookcases, living room tables, pedestal tables, game and work tables, planters, etc.), erudition and curiosity will be confirmed in the "Summary detail" of the Sale made on July 30-31, 1855 (Paris) following the premature death at the age of 43 of this "distinguished cabinetmaker-artist" who had acquired notoriety and notoriety.
Member in 1850-1851 of the Association of Inventors and Artists, L.H.E. Prétot will be, during the National Exhibition of Industrial Products of 1849, rewarded with a Bronze Medal for his “furniture in colored inlays” “all very elegant, very solid, full of perfectly executed details” including “ a beautiful mosaic piece of furniture of his composition" with a "price of 6,000 francs" was, on this occasion, acquired by "the rich banker, Mr. de Rotschild to adorn his living room"; during this mainfestation, Prétot will present, within "his most remarkable exhibition", "a Bonheur du Jour Louis "work of cabinetmaking" won the votes of the press of the time. The Universal Exhibition in London (1851) established the international reputation of Prétot lauré, alongside big names in Parisian luxury cabinetmaking (Béllangé, Crémer , Marcellin, Rivart, J.Thuret) of a Prize Medal for "his furniture of real merit" arousing "the enthusiasm and admiration of the English and Foreigners who flocked to London". These translate into " every day with major purchases.
Building on its success, L.H.E. Prétot founded in June 1852 in collaboration with a Miss Clarisse Eléonore Bigot for a period of ten years (1862) under the company name Prétot et Cie a company whose vocation was the "manufacture and trade of Luxury Furniture". Upon his death, the factory, temporarily managed by Mr. Bassié, one of the workers - cabinetmakers - installed in 1857 at No. 87, Bd Beaumarchais as "Manufacturer of Luxury and Fancy Marquetry Furniture, responsible for all kinds of repairs of precious furniture. (...) - passed around 1856 into the hands of Frédéric Roux (1805-1874)." Owner of the best bronze models that have been preserved", this cabinetmaker who, according to Auguste Luchet (1861), had "the true understanding and religion of beautiful furniture" perpetuated until 1866 the quality of the work of Prétot cabinetmaking. The contemporary press attests: "Maison Prétot always retains, under the direction of Mr. Roux, the superiority that it owes to its very special manufacturing; for Boulle-style furniture and the rich Louis XIV and Louis , and that our women dream of their boudoir". If, in this decade (Second Empire) the aesthetic sensitivity has changed, the fact remains that "The cabinetmaker who knows how to copy Boulle is as great as the sculptor who knows how to copy Phidias" (A. Luchet).
Reference works: Ledoux-Lebard, Denise, The Cabinetmakers of the 19th century: 1795-1889 - Their works, their brands, Paris: Ed.deL'Amateur, 1984, pp.531-532; - Payne, Christopher, Paris, la quintessence of furniture in the 19th century, Ed. Monelle-Hayot, 2018, pp.491-492 and 501-503; -Prévet, Marie, Restoration of a 19th century piece of furniture in Boulle marquetry preserved at the Château d'Espeyran, Mémoire, 2016.
High quality Parisian cabinetmaking work of Louis-Quatorzienne inspiration from the first half of the 19th century stamped by Louis-Hippolyte-Edmée Prétot, "Manufacturer of luxury and fancy cabinetmaking like Boulle, Reizner (..) and bronzes d'art". Louis Philippe period, circa 1844-1849.
Dimensions: H.: 106 cm;-L.: 82cm;-D.: 41 cm.
Materials: Ebonized wood veneer and Cuban Mahogany wood; red tortoiseshell, mother-of-pearl and tinted horn; brass, copper and gilded bronze.
In perfect condition. Restored according to the rules of the Art.