The dining suite is ornamented with porcelain cameo portraits on the long case clock, the credenza and the buffet, with Empire swans bronze ormolu fittings, and bronze handles.

The credenza has a large mirror inlaid with a fine glass fruit basket in the center of the mirror hang with two twisted ribbons from both sides, with two china vitrins, both supported on 4 lonic verde antico columns, with 4 drawers and 4 doors.

The long case clock is flanked with two corinthian verde antico column surmounted with two ormolu bronze putti above the capitals, with a beautiful porcelain cameo portrait in the top center placed inside a foliate ormolu frame, the wood in the sides is ornamented with two pearly flowers, the circular porcelain clock face with Roman numerals and with beautiful bronze ornamented hands engraved of a lyre, a laurel wreath terminate with a foliate shape, with massive spring-suspended seven-rod bimetallic gridiron pendulum terminates with empire style face with rays influenced from the greek style symbolizing the sun.

The buffet is like the credenza but with a smaller mirror, ornamented as well with beautiful swans bronze Empire style fittings and amazing porcelain cameo portrait of a beautiful lady, in which the colors speak about itself.

The table has a large oval top inlaid with real pearl decoration and the top can be opened and extended, the top is supported on four verde antico heavy columns ending with a bronze decorations of acanthus leaves & egged shapes, supported on a curved x-stretcher with four bronze legs.

The dining set has two arm chairs and eight chairs on their original condition, the leather of the seat need to be restored only..

REF: E882012D

Clock: H: 221 cm - W: 55 cm - D: 44 cm ------ Credenza: H: 215 cm - W: 201 cm - D: 55 cm ------ Buffet: H: 169.5 cm - W: 157.5 cm - D: 47 cm

Table: H: 76 cm - W: 158 cm - D: 139 cm ------ Arm Chair: H: 96 cm - W: 54.5 cm - D: 50 cm ------ Chair: H: 96 cm - W: 45 cm - D: 46 cm.

The French Empire Style

 

The first decade of the 19th century coincided with the incontestable affirmation of French predominance in Europe. Not only did Napoleon provide the fulcrum of court painting – official commissions were now shared between Gros, David, François Gérard and Ingres – he also dictated artistic tastes as well as political strategy.

"In the decoration and furnishing of the numerous palaces, Napoleon was resolute in his desire for grandeur and magnificence, to reaffirm the sense of his Olympian power throughout the continent." Comments Alvar Gonzalez – Palacois ( Dal Direttorio all'Impro – From the Directoire to the Empire, Milan 1966).

Although we usually regard the Empire style as belonging only to the period when Napoleon was Emperor, in reality it was not a break with earlier styles, but had its roots in the Louis XVI period and developed, albeit hesitantly, during the Directoire and Consulate periods, periods, reaching full maturity between 1804 and 1815. Its decline set in with the restoration of the Bourbons. Its career described a parabola similar to the evolution of Neoclassicism in Europe. This does not detract from the originality coherence and refinement of Napoleonic art, the ultimate expression of the glory of a period which chose la grandeur antique as the model for its own grandeur.

The Napoleonic style was the standard bearer of a cosmopolitan and heterogeneous society with a taste for splendor and spectacle, centered around the Imperial court in Paris. The furniture in the châteaux at Fontainebleau and Compiègne, the Trianon, the Elysée Palace and the residence of Prince Eugène de Beauharnais in Paris still testify to the extraordinary splendor of a decade in which the cabinet-maker's craft reached its zenith. The history of furniture and social history were never so closely identified as they were during the Empire. The style which began to emerge under the Consulate perfectly reflected both the contemporary evolution in taste and the social mores of the time.

The Empire style furniture is massive, in grand scale and very masculine. It has a severe, heavy, masculine look with no carving. The wood carving which is very common in the previous styles of Louis XIV, Louis XV and Louis XVI is generally replaced with wood veneers polished to a high sheen. To equalize the bareness of wood veneer, metal gilts are used to adorn the furniture. A good clue to identifying the Empire style is the vulgar use of ormolu mounts. Ormolus are gilt-metal decorations usually in different decorative motifs. These are usually drawn from antique sources or patriotic inspiration. There are motifs derived from Egyptian archeology. Falcon, sphinxes, cobras, obelisks, winged lions are just some of these Egyptian inspired decorations. Napoleon's fascination with his conquest of Egypt and later on the excavation of ruins by the French Egyptologists created so much interest in everything related to Egypt.

There are also motifs derived from ancient Greek and Roman design. Vases, lamps, torches, heads of Greek gods, ram's head and cornucopias are among the many Greek and Roman inspired decorations incorporated into the Empire style of furniture. French Patriotism grew stronger during Napoleon's rule and it was evident in the many patriotically inspired decorations which included laurel wreaths, eagles, swords, lances, rifles, drum and bugles. The use of legs that are shaped like animals or sphinxes is very typical to the Empire style. The graceful cabriole legs of the previous styles have been replaced with the massive, more often overstated and vulgar use of legs that are shaped like animals. In conclusion, it is relatively easy to recognize the Empire style of furniture with its massive appearance and overbearing ormolu mounts which usually depicts Egyptian, Greek and Roman themes. This style is a step backward from the simple but elegant Louis XVI style.

In the transitional period between Louis XVI and the Consulate, the differences in ornamentation were so vague that it is difficult to define the variations in style. As the affectations of the 18th century waned, a new taste emerged for massive and imposing furniture on simple lines, with decorative elements making constant allusions to military campaigns. The new style underlined the authority of the emperor, who regarded the Neoclassical mode as the most suitable medium through which to proclaim his victories around Europe.