The Age Of Rococo - Part 3

The vogue for chinoiseries encouraged the perfecting of substitutes for oriental lacquer that could be used effectively for patterns in low relief. Success in this field was achieved by the four brothers Martin; Guillaume (d.1749), Etienne-Simon (d.1770), Julien (d.1783) and Robert (1706 - 1766). In 1730, Guillaume and Etienne were granted a monopoly, which was renewed in 1744, for the production of a varnish that was good enough to be used in association with authentic Japanese lacquer panels. Robert specialized in a variation of this varnish which produced a monochrome, gold-dusted finish. It was derived from a varnish called 'cipolin', which contains garlic.
Following the technique which originated in the Far East, up to forty coats were applied to the surface, each one being rubbed down before the next was applied. Martin brothers' varnish was widely known as 'vernis Martin' and the term has come to be applied to a particular type of decoration of fitted and on non fitted furniture in the Louis XV style - particularly the Watteau-like scenes painted on 'vitrines' (display cabinets); most of those seen today are 19th century or later.

Robert Martin enjoyed the patronage of Madame la Marquise de Pompadour (1721 - 1764) who became 'maitresse-en-titre' to Louis XV in 1745, when she was given that title and the estate that went with it.
She was created a 'duchesse' in 1752 and until her death at the age of only 42, exercised great power over the king, his court, and all the arts including the creation of fine handmade furniture. Most of the results were beneficial. It was partly her influence - although the trend was already evident - that led to the fashion for smaller, more intimate rooms both in palaces and in private houses.
A whole new range of comparatively small, elegant pieces of furniture - desks, stools, small tables and other pieces - were created to equip apartments that were frequently panelled and painted in the Rococo style.

Among the many cabinet-makers of the period now known by name was Bernard II van Risenburgh (c.1700-1765). Both his father and his son were cabinet-makers, and they are referred to as Bernard I and III respectively. Bernard II used 'vernis Martin' very cleverly to decorate the frames of small tables to match, as exactly as possible, the colours and patterns of Sevres porcelain plaques inserted into the tops. The Sevres factory was one of the enterprises which owed its continued existence largely to the support of Madame de Pompadour, and plaques of various shapes and sizes were frequently used in this way for embellishing furniture, different methods are used today with reproduction furniture methods. It was an activity governed to some extent by the middlemen, or dealers, known as 'marchand-merciers' who obtained commissions from clients and placed orders with the makers, in rather the same was as a modern interior decorator works. They had much to contend with, reconciling the whims of their clients with the obstructive practices of the various 'corporations' (guilds) and the royal monopolies limiting the sale of such things as Sevres porcelain. Van Risenburgh seems always to have worked through a marchand-mercier, usually either Herbert or Poirier who were among the most influential.

..to be continued tomorrow.