Homes Antiques

The five-minute expert:

BOULLE ARMOIRE

Lennox Cato discusses

one of Port Eliot’s

most important

pieces of furniture

D

ating from the late 17th or early 18th century and

made during the reign of the ‘Sun King’ Louis

XIV this impressive breakfront Boulle armoire

stands seven feet high and takes pride of place in

the Morning Room. Peregrine the 10th Earl regarded the

armoire as the most prestigious piece of furniture at Port

Eliot and used it to store his vinyl record collection.

THE DESIGNER

André Charles Boulle (1642–1732) came from

an immigrant Dutch family of furniture makers

rising swiftly to become one of the leading

ébénistes at the court of Louis XIV. Endorsed

by the king’s powerful minister Colbert Boulle

was granted a royal warrant and premises in the

Louvre. He supplied oors and wainscoting for

Versailles as well as items of furniture including

commodes and bureaux cabinets for the royal

family. Four of his children including Charles

André followed his profession.

THE TECHNIQUE

There is no evidence that directly links this

armoire to the Boulle family but their name

became synonymous with this intricate type

of marquetry inlay which uses tortoiseshell

brass and ebony veneers with lavish gilt bronze

mounts. The panels were prepared by gluing

together sheets of tortoiseshell and brass. A

pattern was cut through both layers which

were then separated. Next the brass was

engraved and the pieces glued onto the wooden

carcass. When the marquetry has a tortoiseshell

ground with brass inlay as here it is known as

première-partie. When the pattern is reversed

(a brass ground and tortoiseshell inlay) it is

known as contre-partie. On an armoire like this

the contre-partie panels may have been used

on the reverse of the doors or even on another

piece of furniture.

FORM AND FUNCTION

A large-scale armoire such as this was regarded

as part of the architecture of the room and

would almost certainly have been made as a

pair. The exotic motifs include monkeys oriental

gures birds and arabesques that reect the

prevailing fashion for chinoiserie. Adding to the

decorative architectural effect are the heavy

cornice and frieze and the lavishly cast gilt

bronze or ormolu mounts on the capitals

of the columns.

CONDITION

The intricate Boulle technique is very vulnerable

to changes in atmosphere. Fluctuations in

temperature can cause delicate pieces of inlay

secured only by animal glue to move and lift. In

this example the planks of the underlying oak

carcass have moved and some of the inlay has

become detached. Skilled restoration is required

to stabilise the deterioration.

LATER VERSIONS

An armoire of these proportions was time-

consuming to make. The piece incorporates

costly materials and was intended for a

sumptuous interior belonging to a member of the

wealthy elite. The fashion for Boulle continued

with few interruptions through the 18th and 19th

centuries lasting until the early 20th century.

As time passed and demand grew quality was

frequently compromised. Later versions which

were intended for the expanding middle class

market were often factory made. These pieces

were much smaller and used cheaper materials.

While such pieces may have a strong decorative

appeal compared with an early example such

as this they reect inferior quality workmanship

and are less desirable to serious collectors.

OUR EXPERT

Lennox Cato is one of

the Antiques Roadshow’s

furniture specialists. His

area of expertise is 18th

and 19th-century English

furniture and related

decorative items. In 2007

he set up The Edenbridge

Galleries which is

adjacent to his shop

Lennox Cato Antiques.

WHERE

TO SEE

Waddesdon The

Wallace Collection

Highclere Castle

and Polesden Lacey

all hold examples

of Boulle furniture.

Pieces appear

regularly at auction

with value varying

widely according

to quality date

and condition.

WORDS JANET GLEESON

94 H&A SUMMER 2017