Masters of marquetry in the 18th century: Oeben, Roentgen, Abbiati

Throughout the 1700s in Europe, the making of furniture was an elaborate process involving a variety of craftsmen, from the cabinetmaker to the bronze founder to the finisher. The environment of these artisans, their training, neighborhoods, design sources, and patrons all combined to influence the final products. Much of the veneered furniture in the J. Paul Getty Museum’s collection is the result of this collaboration.

During the first years of the 18th century in France, the design of furniture evolved, but marquetry remained largely in the style of André-Charles Boulle, cabinetmaker to the king from 1672. Then throughout the reign of Louis XV (1715–1774), furniture changed considerably with the elegance and originality of curved forms that allowed for more fantasy and a greater variety of decoration. Marquetry designs were easily adapted to this new style by taking full advantage of the rich assortment of natural wood tones and the lively colors of dyed woods. One great marquetry master who dominated the middle of the 18th century in Paris was Jean-François Oeben (1721–1763). However, cabinetmakers, or ébénistes, were not only prevalent in France. In other parts of Europe, including Germany and Italy, extravagant pieces emerged from the workshops of Abraham Roentgen and Francesco Abbiati.

Oeben was born in Germany but emigrated to Paris in the 1740s. After marrying the sister of another ébéniste, he was given the prestigious title of ébéniste du roi (cabinetmaker to the king) in 1754, and obtained lodgings and a workshop at the Gobelins Manufactories. He later was stationed at the Arsenal in Paris, where he was granted permission to build a forge to cast his own metal fittings.

Oeben soon specialized in small, elaborately fitted, multi-purpose pieces of furniture with mechanical parts. He is also credited with having reintroduced naturalistic floral marquetry, which had fallen out of fashion. He produced furniture for the most fashionable members of the aristocracy and was patronized by Madame de Pompadour, Louis XV's mistress. Oeben executed his work with considerable artistic taste and was an innovator in the use of intricate compositions, which is evident in the Getty Museum’s Writing and Toilette Table, seen above, from about 1754.

The trellis-patterned marquetry around the sides of the table and the floral marquetry on top are formed from small pieces of wood dyed in various shades, including blue and green, all of which are now almost completely faded.

The fine floral marquetry on the top of the table, shown above, is characteristic of Oeben’s work. The naturalistically arranged bouquet contains various flowers, including roses, tulips, and daffodils. A garland of blossoms appears to hang from a grill above.

At the four corners of the tabletop, a lion, a swan, a dove, and a salamander represent the four elements: Earth, Water, Air, and Fire.

The interior of the drawer at the left is lined in pale-blue silk. Silver braid would have originally trimmed the edges.

While Oeben gained popularity in France, Germany also celebrated its native cabinetmaker, Abraham Roentgen (1711–1793). He established a furniture workshop near Neuwied, south of Cologne, and soon became known for furniture of outstanding quality that was admired for its interesting use of inlay, inventive mechanical fittings, and the hidden drawers he used in his furniture. Roentgen’s son, David, succeeded him in 1772, and the two then worked in partnership until Abraham retired in 1784.

One inventive work by Roentgen at the Getty Museum is the Reading and Writing Stand, shown above. When closed, this stand appears to be in the form of a table, yet it extends and opens in a complex manner to serve several functions. The height and angle of the upper section can be raised or lowered to form a reading stand, while narrow drawers pop open from the sides. The lower section has two hinged compartments, each containing eight small drawers.

The stand is covered with a pattern of geometric parquetry and inlaid with ivory and mother-of pearl. In the center of the writing surface is the coat-of-arms of Johann Philipp von Walderdorff, who was a great patron to Roentgen, commissioning more than twenty pieces.

At the end of the 18th century, skilled ébénistes such as Francesco Abbiati (dates unknown, active from about 1780) embraced the style of Neoclassicism. Very little is known about Abbiati and his work. He was from Mandello, Italy, on Lake Como, and apparently worked in Milan, and then in Rome where he is recorded as having supplied furniture to the Neapolitan and Spanish courts.

The cabinetmaker Abbiati is particularly known for his elaborate marquetry designs using motifs derived from antiquity. The tabletop, below, shows scenes of classical gods copied from engravings that illustrate the ancient Roman marble reliefs in the Museo Pio-Clementino at the Vatican. The top is inlaid with marquetry scenes that highlight Neoclassical motifs, including palmettes, medallions, masks, and acanthus leaves.

The legs of the table, shown below, inventively display male nudes as if they were three-dimensional, with each side showing a figure from a different angle.