Every so often, a piece of furniture comes along that perfectly embodies both the form and function of the period in which it was made. This magnificent French Provincial centre table captures the spirit of the Louis XV period and the craftsmanship of the Provincial style in a quintessentially French piece.

Crafted of sturdy walnut and topped with rare Breccia marble, the table features bold carving on all sides, with majestic high-relief Rococo elements flowing along the frieze and down the cabriole legs. The natural warmth of the walnut wood contrasts beautifully against the striking landscape of the marble surface.

The beauty of this period of French decorative arts lies in its contrasting noble and humble origins. Louis XV style is the ornate style of a king, with highly ornamental decoration and unrestrained spirit. Designed and executed by elite guilds of craftsmen, much emphasis was placed on the quality of the materials and the excellence of the execution.

The translation of this style to the French provinces meant the use of regional woods (oak, walnut, elm, and fruitwoods) and an emphasis on more functional and long lasting pieces.  This makes this piece a “best of both worlds” table, exhibiting the grandeur of a king’s design with the workmanship of the region’s best workers.

Detail, Louis XV French Provincial Table

The endearing story behind French Provincial furniture weaves beautifully with the story of our own homes. With great elegance and great purpose, it would be a great addition and conversation piece.

Do you have space in your home for this beautiful and functional table?

To all of our French furniture, click here.

Today, I have the pleasure to introduce you a very early example of a French desk, the “bureau Mazarin.”

This desk was named after the Cardinal Mazarin, regent of France from 1642 to 1661. It was, in fact, originally created 10 years later. Mazarin did hire Pierre Gole to create two grand cabinets to donate to Louis XIV’s palace, however, what later became known as the “Bureau Mazarin” was an earlier request from King Henri IV for a piece of furniture that would provide ample locked storage space.

Given the importance of letter-writing in the 17^th century, Gole decided to create a three drawer cabinet, an early rendition of what would later become the common pedestal desk. Essentially an elevated chest, Gole had created something entirely new. The piece had the functionality of a writing surface, equipped with drawers and locked storage space. The particular desk was raised by eight legs joined by two “x” shaped stretchers, giving the piece an elegant architectural feel.

A Vase of Flowers by Margareta Haverman, 1716

Pierre Gole, originally from Amsterdam, was known for his ambitious and intricate marquetry, inspired by the floral still life tradition in Dutch paintings of the 17th century. In order to achieve this affect, he used countless types of woods for the inlay, including ebony, boxwood, barberry, various shades of walnut, amaranth, and pear, among many others. Today cabinet makers typically utilize only a handful of woods, instead staining them to achieve a variety of shades. Upon close inspection of this desk, it is intriguing to observe the grains and textures that each type of wood contributes to the overall design.

The top of the desk is a great example of his talent and reveals some of the legendary Jasmine design of inlaid ivory flowers, which is the mark of the highest quality works. It is particularly difficult to incorporate ivory into marquetry because it shrinks at a different rate than wood, so it must be executed absolutely perfectly in order to stand the test of time! We are proud to offer this museum piece for sale and would love to share its history and grace with you.

This extraordinary terrestrial globe, measuring an impressive 30 inches in diameter, was crafted by the reputable firm W. & A.K. Johnston, Ltd. The beautiful, accurately detailed map is set within a lavishly carved mahogany base on four cabriole legs.

Globes of this grand scale were incredibly expensive to make. It proved to be much more cost effective to update one’s plates than to buy an entirely new globe. From Edinburgh, the Johnston firm emerged during the second half of the 19th-century as one of the foremost globe makers in all of the United Kingdom, overshadowing their rivals in London.

The Johnston brothers, William and Alexander Keith, both worked for leading Scottish globe manufacturer James Kirkwood until the Great Fire of 1824, which destroyed the firm. In 1825 William founded his own firm and was soon joined by his brother the following year.  Their combined skills as geographers, engravers and printers truly set them apart. They quickly rose to the forefront of globe manufacturing in the UK, and were awarded a royal appointment from Queen Victoria. In 1851, at the Great Exhibition in London, the brothers introduced their 30-inch globe design, the first of its kind ever produced in the British Isles.

The firm remained intact even after the deaths of Keith (1871) and William (1888), and continued to produce spectacular globes well into the 20th century.

To see our various globes for sale, please click here.

Back in the old days, in the 1750′s, the way in which lovers expressed their true sentiments to each other and loved ones was to send a specially scribed message secretly hidden in a tiny “étui”, as it’s called in French, or a small ornamental case that women also used to carry their small utensils, a thimble and thread for sewing, or other miniature necessities during their daily activities.  When used for a romantic, or highly a private, message, a seal of wax was used to close the étui to ensure that it wasn’t opened and the confidant betrayed.

Little cylinders, no more than 4 inches long and one inch in diameter, were crafted by hand in leather and precious metals, exotic materials like shagreen (shark or stingray skin),  tortoiseshell or semi-precious stones. They are the perfect romantic gift in which you can stash a very personal love note or even a small gift of jewelry.

M.S. Rau Antiques and Fine Art has acquired an extraordinary collection of 18^th century “étuis” which are decorated using different types of gold and agate. Agate was highly prized in the 18^th century for its marbled look and used as an amulet or talisman to divert storms in ancient civilizations. French phrases like “Nul Plaisir Sans Vous” (“no pleasure without you”) intensify the sentiment of the gift tucked inside, as shown on the one below.

This incredibly intricate, Swiss Louis XIV-era etui (below) is only 4 inches long and is made of 18K yellow gold and features a Neoclassic design representing Music and Gardening motifs in bas-relief cartouches and laurel borders.

This exuberant, English Rococo era étui is formed of beautifully carved agate and 18K yellow gold. It is carved to resemble an enchanted landscape with trees.  Sealed with wax for security, it opens with the push of a diamond studded button. Truly, a gift to have and to cherish.

Australian aborigines called it the “stone of light” and the Celts believed its prismatic properties linked it to the sun. Even the fortuneteller’s rudimentary crystal ball was originally crafted of the mysteriously alluring mineral we refer to today as rock crystal.

Rock crystal, or clear quartz, has been revered by nearly every ancient culture in history. It’s clear, ice-like appearance, enhanced by light refracting fissures gave the mineral an air of mystique that carried on well into the Renaissance. The mineral’s innate beauty piqued the interest of 14th-century European royals and aristocrats and they began amassing stunning collections that largely included rock crystal objets d’art in rooms known as “curiosity cabinets.” Even today, many royal collections throughout the world contain pieces crafted of rock crystal.

The use of rock crystal in the creation of precious objects required highly skilled artisans that were proficient in a multitude of disciplines, including gem cutter, jeweler, goldsmith, and enamelist. No other group of craftsmen excelled in this art better than the Viennese. Their ability to marry so many varied techniques, with the utmost level of perfection and beauty, led to the creation of the most exquisite objects of virtu ever made.

This resplendent Viennese charger is inset with nine intricately engraved panels of rock crystal

This brilliant Rock Crystal Charger of Chateau de Chenonceau is believed to have been commissioned by the daughter of Scottish businessman Daniel Wilson, who purchased the Chateau de Chenonceaux for her in 1864. Created by a Viennese craftsman of obviously tremendous skill, a precise rendering of the chateau is carved into the central panel of rock crystal, while the surrounding insets are etched with an intricate network of Neoclassical scrolls. The silver and silver gilt frame of the charger boasts relief figures adorned with vivid enamel, pearls, rubies and emeralds. In terms of history and craftsmanship, this is arguably the finest example of Viennese rock crystal on the market.

A breathtaking rendering of the Chateau Chenonceau at the center of the charger

A single block of rock crystal was used to create this fanciful Rock Crystal and Enamel Vessel, in the form of a double-headed bird. From the exquisite carving to the intricacies of the silver gilt enameling, it would be easy to envision this elegant masterpiece in a most prestigious collection.

The fanciful form of this Viennese rock crystal vessel is similar to prized specimens currently held by museums.

M.S. Rau Antiques is incredibly fortunate to offer these and several other Viennese rock crystal wonders for sale. Rarely does such a large number of these desirable objets d’art become available for acquisition, as most can only be found in the most prestigious museum collections. Immersed in legend, sought by royalty and matchless in beauty, the reason why these treasures continue to lure collectors throughout the world is crystal clear.

To view M.S. Rau Antiques entire collection of rock crystal treasures, click here.