Piece of furniture has height of support in veneer of magnifying glass and blackened wood as well as lemon tree, opening has a drawer in belt and a door decorated in the center with a female mask surmounted by a shell in gilded bronze symbolizing venus.
It rests on four helicoidal feet in gilt bronze.
Rounded amount to brass asparagus grooves.
Beautiful ornamentation of gilded bronzes such as mouldings, keyhole and foliage motifs.
Stamped "grohé a paris" three times.
In mint condition.
Guillaume Grohé (1808-1885), born in the Grand Duchy of Hesse-Darmstadt, moved to Paris around 1827. Together with his brother Jean-Michel he successfully managed a company called "Grohé Frères", which offered furniture and art objects and successfully presented works at the Exposition des Produits de l'Industrie in 1834. His success was both rapid and considerable. He was awarded the Legion of Honour in 1849, and was then promoted to Officer of this order. In 1861, his brother retired from business, leaving William alone at the head of the company. Having no successor, the company was up and running in 1884. Within a few years, he became one of the leading cabinetmakers of his time. Supplier to King Louis XVIII (Louis XIV-style console, National Exhibition of 1844; a Renaissance-style ebony museum piece of furniture, 1844), King Louis-Philippe, Emperor Napoleon III (Mahogany dining room, Palais de Saint-Cloud, 1855; numerous mahogany pieces of furniture, Palais de Compiègne; Renaissance-style mahogany furniture, Palais de Fontainebleau, 1859), and after 1862, Queen Victoria. Specialized in the manufacturer of style furniture, the Duc d'Aumale entrusted him with the furnishing of the Château de Chantilly, and Mme Pelouze with the furnishing of the Château de Chenonceaux. He participated brilliantly and was several times a member of the jury at the Universal Exhibitions. According to the jury's report of the Universal Exhibition in Paris in 1878, Grohé is described there as "the undisputed master of modern cabinet making, all forms of praise have been exhausted in his regard, just as he has exhausted all series of awards". Maxime Boucheron finally quotes in an article in Le Figaro in 1884 that "Grohé was a true great master of 19th century artistic cabinetmaking. A career spanning more than fifty years filled our museums and national palaces with incomparable masterpieces. He ensured the preponderance of French taste in luxury furniture".