Louis XVI Secretary Desk, Stamped "stumff," 18th Century

Louis XVI writing desk stamped STUMFF, dating from the 18th century.

An elegant Louis XVI-style drop-front secretary desk, stamped STUMFF, made of precious wood veneer, featuring superb craftsmanship and the understated decoration characteristic of Parisian furniture from the second half of the 18th century.

The cabinet opens at the front with a leather-covered flap, revealing an architecturally designed interior of compartments and drawers, several of which are arranged in tiers and feature delicate veneer frames. The flap, held in place by side hinges, creates a comfortable writing surface.

The lower section opens with two doors, richly molded and framed with veneer fillets, revealing a storage space. The piece rests on four elegantly curved legs, finished with small gilded bronze feet, while the gilded bronze lock plates and ornaments subtly accentuate the lines of the piece.

The top is crowned with veined red marble, featuring a recessed groove and “bec-de-corbin” molding, lending a particularly elegant touch to the piece.

The front and sides feature a beautiful grain-of-wood veneer in warm, deep tones, enhanced by a varnished finish and a lovely antique patina.

Louis XVI period, 18th century.
Mark: STUMFF.

The STUMFF mark corresponds to Jean-Chrysostome Stumpff, a Parisian cabinetmaker who became a master in 1766; his furniture is known by the marks STUMFF / J. STUMFF, sometimes accompanied by the initials JME.

An elegant work and storage piece, particularly representative of the pursuit of simplicity, functionality, and refinement characteristic of Louis XVI furniture.

It measures 85 cm in length, 36 cm in width
, and 117 cm in height.

STUMPFF Jean Chrysostome
Jean-Chrysostome Stumpff (1731–1806) – Cabinetmaker. Paris. Became a master craftsman on August 27, 1766.

Born in Swabia, Stumpff established himself as an independent craftsman on Rue Saint-Nicolas, where he remained after obtaining his master’s certificate in 1766.

His mark appears on numerous pieces featuring rosewood veneer and Far Eastern-style lacquer, with geometric marquetry motifs.
But what made this cabinetmaker famous was a highly original trompe l’œil marquetry technique simulating small cubes and cross-hatches in relief—a style that enjoyed enormous success in 1770.
This cabinetmaker is also noted for his consistent use of Greek-style framing fillets. His Louis XV furniture (which is quite rare),