This lady's diminutive desk has bulging, bombe surfaces. Its slanted top folds out on hinged struts that support its writing surface. Below three drawers, a false bottom pushes back, revealing three more tiny drawers. The flowers and vines that ripple across the exterior are repeated on the interior. These patterns are made of dark woods that were end-cut to create a stippled effect and silhouetted against the diagonal grain of pale tulip-wood.
Such floral veneer, making the most of natural wood tones, characterizes the style of Bernard II van Risamburgh, who stenciled his initials, B.V.R.B., underneath this piece. He often used ink stencils on his smaller works, which were too delicate to withstand blows from metal stamp punches.
Specializing in small-scale luxury furniture, Bernard was exceptionally versatile in technique. He used wood marquetry and Oriental lacquer, and is likely to have been the first cabinetmaker to decorate his pieces with plaques of Sevres porcelain. The second of three generations of Parisian furniture makers of Dutch origin, Bernard II van Risamburgh was among the finest eighteenthcentury craftsmen. For More info:
http://www.nga.gov/collection/gallery/gg14c/gg14c-1579.html
Such floral veneer, making the most of natural wood tones, characterizes the style of Bernard II van Risamburgh, who stenciled his initials, B.V.R.B., underneath this piece. He often used ink stencils on his smaller works, which were too delicate to withstand blows from metal stamp punches.
Specializing in small-scale luxury furniture, Bernard was exceptionally versatile in technique. He used wood marquetry and Oriental lacquer, and is likely to have been the first cabinetmaker to decorate his pieces with plaques of Sevres porcelain. The second of three generations of Parisian furniture makers of Dutch origin, Bernard II van Risamburgh was among the finest eighteenthcentury craftsmen. For More info:
http://www.nga.gov/collection/gallery/gg14c/gg14c-1579.html
