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JEAN HENRI RIESENER (1734-1806)

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Originally appearing in Volume V23, Page 324 of the 1911 Encyclopedia Britannica.
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JEAN See also:HENRI See also:RIESENER (1734-1806)  , See also:French See also:cabinet-maker of the See also:Louis XVI. See also:period, was See also:born at See also:Gladbach near See also:Cologne . At an See also:early See also:age he went to See also:Paris, where he entered the workshop in the See also:Arsenal of See also:Jean See also:Francois See also:Oeben (q.v.) . When that See also:great See also:master died, See also:Riesener became foreman of the See also:works; two years later he married Mme . Oeben, and in 1768 was admitted " maitremenuisier-ebeniste." His wife died in 1776, and in 1782 he espoused, as his second wife, See also:Anne Grezel, daughter of a See also:bourgeois of Paris . The See also:union was unhappy, and when, under the first See also:Republic, See also:divorce was legalized, the See also:marriage was dissolved . When Riesener contracted his first marriage he possessed little or nothing; his second See also:contract of marriage recited that in See also:cash and in the See also:money due to him by Louis XVI. he was See also:worth more than £20,000, without counting the finished See also:work in See also:hand, See also:bronze See also:models, jewels and See also:personal effects and invested funds . Thus in fifteen years hehadaccumulated a See also:fortune amounting in all to about £40,000 . By that See also:time there had been conferred upon him the See also:title, formerly enjoyed by Oeben, of " Bbeniste du Roi." He died on the 6th of See also:January 18o6, in the Enclos See also:des See also:Jacobins, leaving an only son, See also:Henri Francois (1767-1828), a distinguished portrait-painter of the First See also:Empire . Riesener was unquestionably the greatest of the Louis Seize cabinet-makers . His name is stamped upon the See also:Bureau du Roi in the Louvre, and although the See also:original conception of that master-work was due to Oeben, it cannot be doubted that its consummate finish and perfect achievement must in great measure be attributed to the See also:man who completed it . Occasionally there may, perhaps, be some lack of spontaneity in his forms, but his work is generally at once bold and graceful . His See also:marquetry presents an extraordinary finish; his chiselled bronzes are of the first excellence .

He was especially distinguished for his cabinets, in which he employed many See also:

European as well as See also:exotic See also:woods . Wreaths and bunches of See also:flowers See also:form the centres of the panels; on the sides are often See also:diaper patterns in quiet See also:colours . Yet despite his distinction as a maker of cabinets his high-See also:water See also:mark was reached in the Bureau du Roi, finished in 1769 and consequently belonging rather to the Louis Quinze than the Louis Seize period; and a not altogether dissimilar See also:cylinder bureau believed to have been made for Stanislas Leszczynski, See also:king of See also:Poland, now in the See also:Wallace Collection . Stanislas died in 1766, but the See also:desk was not completed until See also:February 20, 1769, as appears by the inscription accompanying the maker's See also:signature . Upon its completion it passed into the See also:possession of the French See also:crown and was included in a See also:sale of the royal See also:furniture which took See also:place in See also:Holland . It was See also:purchased by See also:Sir See also:William See also:Hamilton, then See also:British See also:Minister at the See also:Hague, and appears to have passed out of his hands when he See also:left See also:Naples, where it was purchased by Sir See also:Richard Wallace . At See also:Buckingham See also:Palace there is a third bureau on the same lines . These pieces are triumphs of marquetry . They are inlaid with trophies of musical See also:instruments, doves, bouquets and garlands of flowers; the bronze vases and " galleries" are exquisite—they may possibly be the work of Gouthiere, but are more probably from the hands of Duplessis . For several years this great artist appears to have used the models of his master Oeben, but there was a See also:gradual transition to a See also:style more individual, moredelicately conceived, with finer but hardly less vigorous lines . By the time he had been working alone for ten years he had completely embraced the Louis Seize manner—he had, perhaps, some responsibility for it . One of the most distinguished of his achievements for the See also:court was the famous See also:flat See also:writing-table now at the See also:Petit Trianon, for which he received only £200 .

The extent of these royal orders may be gauged from the fact that between 1775 and 1785 Riesener received 500,000 livres from the Garde Meubles, notwithstanding that during the whole of this period Gondouin the architect was the See also:

official designer of furniture for the royal palaces . Like so many other artists he was condemned in the end to See also:sacrifice to the false: See also:taste of his See also:day, and - a certain number of his creations, otherwise delightful, were vitiated by being mounted with panels of Sevres, See also:Wedgwood and other See also:china . The beautiful little secretaire in the See also:Jones collection hi the See also:Victoria and See also:Albert Museum suffers seriously by this See also:lapse .

End of Article: JEAN HENRI RIESENER (1734-1806)
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