CHARLES TOPINO (c. 1742–1803) - Lot 332

Lot n° 332
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Estimation :
2500 - 3000 EUR
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CHARLES TOPINO (c. 1742–1803) - Lot 332
CHARLES TOPINO (c. 1742–1803) Master cabinetmaker in Paris in 1773 Bonheur-du-jour / Louis XVI-period ladies’ writing desk with stepped top Made of mahogany and mahogany veneer. The upper tiered section opens via two sliding panels with vertical slats, revealing a storage compartment. It is framed by two side posts adorned with foliage motifs in chiseled and gilded bronze. The middle section features a folding top that serves as a writing surface. The lower section opens via two small drawers positioned above a large drawer. It rests on four tapered square-section legs topped with gilded bronze feet. Richly decorated with chiseled and gilded bronze, including, notably, foliage motifs, lock plates, pull handles, and feet. Stamped “C. TOPINO” and bears the guild mark “JME.” White marble top surrounded by an openwork gilt metal gallery, added at a later date. Louis XVI period, circa 1780. H. 103; W. 78; D. 41 cm Previous and normal wear and tear; minor signs of use. Marble and gallery added later; original bronze fittings. Note on Charles Topino Charles Topino (1742–1803) was admitted as a master cabinetmaker in Paris on July 4, 1773, and practiced on Rue du Faubourg-Saint-Antoine. He is best known for his refined small pieces of furniture—writing tables, parlor tables, tambour tables, and bonheurs-du-jour—as well as for his famous marquetry depicting flowers, vases, teapots, and various “utensils.” His clientele consisted largely of haberdashers and other leading Parisian cabinetmakers, including Boudin, Migeon, Delorme, Héricourt, and Tuart, to whom he supplied both finished pieces of furniture and marquetry panels. His ledger from the years 1771–1779 has been preserved and documents, in particular, his collaboration with several Parisian bronze casters and gilders. Topino is particularly noted for his light and ingenious furniture designed for a refined clientele. Several of his “bonheurs-du-jour” are now preserved in public collections; the Musée des Arts Décoratifs in Paris, in particular, holds an example dated around 1770–1775.
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