Stamped "j. Dautriche" - Semi-moon Satin Chest Of Drawers - Louis XVI Period

Remarkable dresser in satin veneer in half-moon shape.
The box is in oak, as well as the drawers.
The veneer is in wood with framing friezes for the mobile elements.
It opens with 3 drawers and 2 leaves and rests on small sheathed feet.
Frame bronzes with a row of pearls for the 2 leaves and the upper drawer 2 large drawers -
bronze with "heart ray" pattern.
Finely chiseled Louis XVI keyholes
Mercury gilding
Very beautiful red Languedoc marble top (thickness: 3 cm)
Very high quality cabinetry -
Stamped 4 times on the rear and side uprights: J. DAUTRICHE + JME Epoque jurande hallmark
Louis XVI - 18th century
The locks work and we have the keys

Personalized payments possible

Jacques Van Oostenryk dit DAUTRICHE (1725/28 - 1778)
Master on May 24, 1765. Supplier of the Couroone under Louis XVI, he produced magnificent chests of drawers.

Coming from the Netherlands, Jacques Van Oostenryk who called himself Dautriche, arrived in Paris around 1740 and began to work as a free worker. He first settled in rue Traversiére then moved to rue du Faubourg Saint-Antoine where he quickly acquired great notoriety and received numerous orders for the various houses of the king.
When he died, his wife and his son Thomas Jacques took over the management of his workshop.

If Dautriche executed some Louis XV furniture, he excelled especially in Transition and Louis XVI style works in rosewood, satin or mahogany veneer: chests of drawers, secretaries, corner cabinets, the very architectural ensemble, with harmonious lines.
But the great fame of this cabinetmaker is above all due to his talents as a marketer. He knew how to use the most diverse marquetry with art, whether it be geometric patterns: diamonds, cubes, octagons arranged on large panels framed with bronze rods, or marquetry representing flowers and arabesques.
Dautriche, who worked for a long time as a freelance worker in the Faubourg Saint-Antoine before acquiring his master's degrees in 1765, concurrently produced chests of drawers with Oeben which the latter endorsed the authorship. It is therefore normal, since Dautriche could not stamp before the recording of his letters of mastery, to return to him all the works attributed up to now to Oben and whose bronzes are fixed in shaped cartridges.
Far from serving him, the dictionaries devoted to Parisian cabinetmakers describe Dautriche more or less as a copyist of Oeben, whereas he was only a contemporary drawing from the same sources of aesthetic vocabulary. Thus his work turns out to be more interesting and more complex than one could imagine.
Perhaps emulated, but by no means a copyist, he should be considered as an accomplished artist who revealed himself through unpublished marquetry motifs and that Oeben's stifling fame eclipsed in the eyes of posterity, while his work attested afterwards 1763 shows a great variety of composition which differs profoundly from the Riesnerian creations after the death of the master.L’email a bien été copiéL’email a bien été copié L’email a bien été copié