Cena nor\u0101d\u012bta par 1 gabalu. Pieejami: 2 gab.<\/p>\n

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\ud83d\udcd0 IZM\u0112RI<\/strong> Augstums 119 cm \u00d7 platums 42 cm \u00d7 dzi\u013cums 39 cm. Pieejami k\u0101 p\u0101ris \u2014 abi gabali identiski.<\/p>\n

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Augsta Ozola Kumode ar Gri de Flandre Marmora Virsmu \u2014 Luijs XVI stils \/ Belle \u00c9poque, Francija vai Be\u013c\u0123ija, ap 1875.\u20131900.<\/strong><\/h3>\n
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\ud83c\udfdb\ufe0f IZGATAVO\u0160ANAS PERIODS, M\u0100KSLAS STILS, LAIKMETS<\/strong><\/p>\n
\u0160\u012b kumode \u2014 un t\u0101s identisk\u0101 m\u0101sa \u2014 pieder Belle \u00c9poque<\/strong> \u2014 “Skaist\u0101 Laikmeta” \u2014 elegant\u0101kajam \u017eanram: augstai bonneti\u00e8re<\/em> jeb armoire colonne<\/em> tipa skapim, kas Luija XVI<\/strong> stila interpret\u0101cij\u0101 k\u013cuva par Belle \u00c9poque<\/strong> bur\u017eu\u0101zisk\u0101 salona un gu\u013camistabas ikonu.<\/p>\n
Luija XVI<\/strong> stilam rakstur\u012bg\u0101 arhitektonisk\u0101 discipl\u012bna \u0161eit ir lieliski sabalans\u0113ta ar Belle \u00c9poque<\/strong> dekorat\u012bvo br\u012bv\u012bbu. Kanel\u0113ti<\/em> pilastri s\u0101nu st\u016bros, stingrie karn\u012bzes profili un marmora virsmas horizont\u0101l\u0101 t\u012br\u012bba nes Luija XVI<\/strong> mantojumu. Savuk\u0101rt reljefais kartu\u0161a<\/em> medaljons ar pu\u0137u v\u0101zi, vol\u016btu<\/em> locek\u013ciem un lapu ornamentiem durvju panel\u012b, k\u0101 ar\u012b spir\u0101liskie voliutu<\/em> ornamenti virs karn\u012bzes nes Belle \u00c9poque<\/strong> m\u0101ksliniecisko br\u012bv\u012bbu, ko n\u0101kam\u0101 paaudze nosauks par Art Nouveau<\/em> priek\u0161teci.<\/p>\n
Pel\u0113kais marmors ar smalkajiem br\u016bnajiem dz\u012bslu rakstiem \u2014 visticam\u0101k Gris de Flandre<\/em> vai Gris Saint-Anne<\/em> no Be\u013c\u0123ijas<\/strong> karjeriem Hainaut provinc\u0113 \u2014 bija 19. gadsimta beig\u0101s \u0101rk\u0101rt\u012bgi piepras\u012bts materi\u0101ls Francijas un Be\u013c\u0123ijas augst\u0101k\u0101s klases m\u0113bel\u0113m. T\u0101 smalkais to\u0146u neitr\u0101lisms \u013c\u0101va tam harmoniz\u0113ties ar jebkuru koka sugu un interjera paleti.<\/p>\n
Klods Debis\u012b 1884. gad\u0101 ieguva Romas pr\u0113miju un dev\u0101s uz It\u0101liju \u2014 bet v\u0113l pirms tam vi\u0146\u0161 dz\u012bvoja Par\u012bz\u0113 tie\u0161i t\u0101dos appartements bourgeois<\/em>, kur \u0161\u0101das augst\u0101s kumodes st\u0101v\u0113ja gu\u013camistabas st\u016bros ar sve\u010dturiem un \u0123ip\u0161a medaljonu portretiem virs t\u0101m. M\u016bzika un m\u0113bele taj\u0101 laik\u0101 elpoja vien\u0101 ritm\u0101.<\/p>\n
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\u269c\ufe0f RA\u017dOT\u0100JS UN MANUFAKT\u016aRAS Z\u012aMOGS<\/strong><\/p>\n
Redzama ra\u017eot\u0101ja z\u012bmoga nav. Tom\u0113r izpildes kvalit\u0101te \u2014 ozola graudu vienm\u0113r\u012bgums, kartu\u0161a<\/em> medaljona plastisk\u0101 dzi\u013cuma precizit\u0101te, bronzas roze\u0161u<\/em> pogu smalkums un marmora virsmas perfekt\u0101 piegu\u013c\u0161ana koka korpusam \u2014 nor\u0101da uz profesion\u0101lu Zieme\u013cfrancijas vai Be\u013c\u0123ijas re\u0123ion\u0101lu kabinetista darbn\u012bcu.<\/p>\n
Luija XVI<\/strong> stila augstie skapji ar marmora virsm\u0101m bija \u012bpa\u0161i rakstur\u012bgi Be\u013c\u0123ijas<\/strong> un Zieme\u013cfrancijas ra\u017eotn\u0113m \u2014 Lje\u017e\u0101<\/strong>, Lilj\u0101<\/strong>, Turn\u0113<\/strong> \u2014 kur ozols bija pieejams viet\u0113jais materi\u0101ls un Luija XVI<\/strong> trad\u012bcija tika saglab\u0101ta un interpret\u0113ta ar lielu precizit\u0101ti v\u0113l 19. gadsimta p\u0113d\u0113j\u0101 ceturksn\u012b.<\/p>\n
Abi gabali ir identiski izgatavoti \u2014 tas nor\u0101da uz r\u016bp\u012bgi koordin\u0113tu darbn\u012bcas pas\u016bt\u012bjumu, kur divi meistari vai viens meistars ar pal\u012bgu str\u0101d\u0101ja paral\u0113li, lai nodro\u0161in\u0101tu p\u0101ra simetriju. T\u0101da precizit\u0101te bija d\u0101rga un apliecina augstu pas\u016bt\u012bt\u0101ja pras\u012bbu l\u012bmeni.<\/p>\n
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\ud83d\udc8e RETUMS UN NOZ\u012aME<\/strong><\/p>\n
Identiski p\u0101ri (paire<\/em>) augstiem skapjiem ar ori\u0123in\u0101l\u0101m marmora virsm\u0101m, piln\u012bg\u0101 simetrisk\u0101 integrit\u0101t\u0113, starptautiskaj\u0101 antikv\u0101ru tirg\u016b ir iev\u0113rojami ret\u0101ki par atsevi\u0161\u0137iem gabaliem. Laika gait\u0101 p\u0101ri bie\u017ei tiek sadal\u012bti \u2014 viens non\u0101k vien\u0101 kolekcij\u0101, otrs \u2014 cit\u0101. \u0160is p\u0101ris ir saglab\u0101jies kop\u0101, un abi gabali ir identiski.<\/p>\n
Bonneti\u00e8re<\/em> \/ armoire colonne<\/em> form\u0101ts \u2014 \u0161aurs, augsts skapis ar vienu durvju paneli \u2014 bija 19. gadsimta gu\u013camistabas un garderobas standarts augst\u0101k\u0101s bur\u017eu\u0101zijas un aristokr\u0101tijas m\u0101j\u0101s. Divi \u0161\u0101di gabali, novietoti simetriski ab\u0101s pus\u0113s durv\u012bm vai spogulim, ir klasisks Belle \u00c9poque<\/strong> interjera kompoz\u012bcijas risin\u0101jums.<\/p>\n
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\ud83d\udd6f\ufe0f PIELIETOJUMS INTERJER\u0100, DIZAIN\u0100 UN FOTOGR\u0100FIJ\u0100<\/strong><\/p>\n
\u0160\u0101ds p\u0101ris ir izcils interjera risin\u0101jums abpus durv\u012bm, spogulim, kam\u012bnam vai gultai \u2014 simetrisks, arhitektonisks, vizu\u0101li stabiliz\u0113jo\u0161s. Pel\u0113k\u0101 marmora virsma ir ide\u0101la ekspoz\u012bcijas virsma sve\u010dturiem, v\u0101z\u0113m vai maziem skulpt\u016bru darbiem.<\/p>\n
Atsevi\u0161\u0137i \u0146emts, katrs no \u0161iem skapjiem darbojas k\u0101 elegants akcentgabals jebkur\u0101 telp\u0101 \u2014 koridor\u0101, gu\u013camistab\u0101, salon\u0101. Kop\u0101 k\u0101 p\u0101ris \u2014 tie ir piln\u012bgs arhitektonisks pazi\u0146ojums.<\/p>\n
Interjera dizaineri un fotogr\u0101fi nov\u0113rt\u0113 \u0161\u0101du gabalu simetrisko kompoz\u012bciju \u2014 divi identiski priek\u0161meti kadr\u0101 rada klasisk\u0101s arhitekt\u016bras ritmu, ko nevar imit\u0113t ar nesakrit\u012bgiem gabaliem.<\/p>\n
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\ud83c\udf81 D\u0100VANA UN PERSONALIZ\u0100CIJA<\/strong><\/p>\n
P\u0101ris identisku skapju ir izcila d\u0101vana jaunajai m\u0101jai, interjera renov\u0101cijai vai kolekcion\u0101ram, kur\u0161 veido Luija XVI<\/strong> stila ansambli. K\u0101 korporat\u012bva vai reprezentat\u012bva d\u0101vana \u2014 piem\u0113rota jebkurai instit\u016bcijai, kas nov\u0113rt\u0113 Francijas un Be\u013c\u0123ijas savoir-faire<\/em> trad\u012bciju.<\/p>\n
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\ud83d\udd0d ST\u0100VOKLIS<\/strong><\/p>\n
Labs visp\u0101r\u0113jais st\u0101voklis abiem gabaliem. Ozola koks ar dabisku vecuma patinu \u2014 ton\u0113jums silts un vienm\u0113r\u012bgs. Marmora virsmas saglab\u0101ju\u0161\u0101s labi \u2014 redzamas dab\u012bgas virsmas p\u0113das, kas apliecina autentiskumu. Bronzas roze\u0161u<\/em> pogas ori\u0123in\u0101las, ar dabisku patinu. Kartu\u0161a<\/em> medaljonu grie\u0161ana piln\u0101 integrit\u0101t\u0113. Iek\u0161puse \u2014 ozola plaukti, t\u012bri, funkcion\u0101li. E\u0146\u0123es ori\u0123in\u0101las, darbojas.<\/p>\n
Lietas st\u0101voklis piln\u012bb\u0101 atspogu\u013cots fotogr\u0101fij\u0101s.<\/p>\n
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\ud83c\uddec\ud83c\udde7 DESCRIPTION IN ENGLISH<\/strong><\/p>\n
Price listed per 1 item. Available: 2 pcs.<\/p>\n
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\ud83d\udcd0 DIMENSIONS<\/strong> Height 119 cm \u00d7 width 42 cm \u00d7 depth 39 cm. Available as a matching pair \u2014 both pieces identical.<\/p>\n
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Tall Walnut Pedestal Cabinet with Grey Marble Top \u2014 Louis XVI Style \/ Belle \u00c9poque, France or Belgium, circa 1875\u20131900.<\/strong><\/h3>\n
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\ud83c\udfdb\ufe0f PERIOD, ARTISTIC STYLE, ERA<\/strong><\/p>\n
This cabinet \u2014 and its identical companion \u2014 belongs to the most elegant genre of the Belle \u00c9poque<\/strong>: the tall bonneti\u00e8re<\/em> or armoire colonne<\/em>, which in the Louis XVI<\/strong> style interpretation became an icon of the Belle \u00c9poque bourgeois salon and bedroom.<\/p>\n
The architectural discipline characteristic of Louis XVI<\/strong> is beautifully balanced here with Belle \u00c9poque<\/strong> decorative freedom. Fluted<\/em> pilasters at the side corners, strict cornice profiles, and the horizontal purity of the marble top carry the Louis XVI<\/strong> heritage. The relief cartouche<\/em> medallion with a flower vase, volute<\/em> scrolls, and leaf ornaments on the door panel, along with the spiral volute<\/em> ornaments above the cornice, carry the Belle \u00c9poque<\/strong> artistic freedom that the next generation would recognise as a precursor to Art Nouveau<\/em>.<\/p>\n
The grey marble with delicate brown vein patterns \u2014 most likely Gris de Flandre<\/em> or Gris Saint-Anne<\/em> from Belgium<\/strong>‘s Hainaut quarries \u2014 was an exceptionally sought-after material for high-end furniture in France and Belgium in the late 19th century. Its subtle tonal neutrality allowed it to harmonise with any wood species and interior palette.<\/p>\n
Claude Debussy won the Prix de Rome in 1884 and departed for Italy \u2014 but before that he lived in Paris in precisely such appartements bourgeois<\/em>, where tall cabinets like these stood in bedroom corners with candelabra and plaster medallion portraits above them. Music and furniture breathed in the same rhythm then.<\/p>\n
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\u269c\ufe0f MAKER AND MARKS<\/strong><\/p>\n
No visible maker’s mark. However, the quality of execution \u2014 the evenness of the oak grain, the plastic depth of the cartouche<\/em> medallion carving, the fineness of the bronze rosette<\/em> knobs, and the precise fit of the marble top to the wooden body \u2014 points to a professional northern French or Belgian regional cabinetmaker’s workshop.<\/p>\n
Louis XVI<\/strong> style tall cabinets with marble tops were particularly characteristic of Belgian<\/strong> and northern French workshops \u2014 Li\u00e8ge<\/strong>, Lille<\/strong>, Tournai<\/strong> \u2014 where oak was a locally available material and the Louis XVI<\/strong> tradition was preserved and interpreted with great precision well into the last quarter of the 19th century.<\/p>\n
Both pieces are identically made \u2014 indicating a carefully coordinated workshop commission, where two craftsmen or one master with an assistant worked in parallel to ensure the pair’s symmetry. Such precision was costly and confirms a high level of client expectation.<\/p>\n
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\ud83d\udc8e RARITY AND SIGNIFICANCE<\/strong><\/p>\n
Identical pairs (paires<\/em>) of tall cabinets with original marble tops, in complete symmetric integrity, are considerably rarer on the international antiques market than single pieces. Over time, pairs are often separated \u2014 one piece entering one collection, the other another. This pair has remained together, and both pieces are identical.<\/p>\n
The bonneti\u00e8re<\/em> \/ armoire colonne<\/em> format \u2014 a narrow, tall cabinet with a single door panel \u2014 was the 19th-century bedroom and dressing room standard in upper bourgeois and aristocratic homes. Two such pieces placed symmetrically on either side of a door, mirror, or fireplace is the classic Belle \u00c9poque<\/strong> interior compositional solution.<\/p>\n
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\ud83d\udd6f\ufe0f INTERIOR, DESIGN AND PHOTOGRAPHY USE<\/strong><\/p>\n
Such a pair is an outstanding interior solution on either side of a door, mirror, fireplace, or bed \u2014 symmetrical, architectural, visually stabilising. The grey marble top is an ideal display surface for candelabra, vases, or small sculptural works.<\/p>\n
Taken individually, each cabinet functions as an elegant accent piece in any room \u2014 corridor, bedroom, salon. Together as a pair \u2014 they are a complete architectural statement.<\/p>\n
Interior designers and photographers value the symmetric composition of such a pair \u2014 two identical pieces in a frame create the rhythm of classical architecture that cannot be replicated with mismatched pieces.<\/p>\n
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\ud83c\udf81 AS A GIFT<\/strong><\/p>\n
A pair of identical cabinets is an exceptional gift for a new home, an interior renovation, or a collector building a Louis XVI<\/strong> style ensemble. As a corporate or representative gift, it suits any institution that appreciates the French and Belgian savoir-faire<\/em> tradition.<\/p>\n
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\ud83d\udd0d CONDITION<\/strong><\/p>\n
Good overall condition for both pieces. Oak with a natural warm age patina \u2014 tone even and consistent across both cabinets. Marble tops well preserved \u2014 natural surface marks visible, confirming authenticity. Bronze rosette<\/em> knobs original, with natural patina. Cartouche<\/em> medallion carving in full integrity. Interior oak shelving clean and functional. Original hinges, operational.<\/p>\n
The condition of the pieces is fully reflected in the photographs.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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