- Roger Vandercruse Lacroix
Roger Vandercruse Lacroix (1728 — 1799), often known as Roger Vandercruse, was a
Paris ian "ébéniste " whose highly refined furniture spans therococo and the early neoclassical styles.Roger Vandercruse Lacroix, like many outstanding Parisian cabinetmakers since the mid-seventeenth century, was of Low Countries stock, [An early example is
Pierre Golle , working at the "Manufacture des Gobelins".] fully acclimatized in Paris, where he was part of a network of outstanding craftsmen: he was the son of a cabinet-maker in the Faubourg Saint-Antoine, and the brother of a clock-maker; in 1749 his sister marriedJean-François Oeben , the great "ébéniste" and "mechanicien", whose workshop stock R.V.L.C.— as he stamped his pieces— [When the Paris "corporation" after 1751 required the use of stamps ("poinçons") identifying masters, the use of initials in this way served to disguise the identity of craftsmen working for "marchands-merciers": the identity of the great cabinet-maker "B.V.R.B." (Bernard II van Risamburgh ) was not generally known until 1962 (Watson 1962).] finished after Oeben's death in 1763, including pieces designed for Oeben's patron, themarquise de Pompadour . His sister, Oeben's widow, then married the foremanJean-Henri Riesener , royal cabinet-maker to Louis XVI.Roger Vandercruse Lacroix took over his father's workshops in 1755, when he was received "maître" in the cabinet-makers' guild, the "Corporation des menuisiers-ébénistes"; before that, however, he had already been supplying pieces to the "ébéniste"
Pierre Migeon : between 1751 and 1759 he supplied Migeon goods worth 21,700 "livres" (Eriksen 1974:224).Roger Vandercruse excelled in the production of
commode s, and specialized in "meubles volants", small fine pieces that could be shifted about to suit the activities of the moment, such as the lady’s writing desks called "bonheurs du jour" and small tables. A good deal of R.V.L.C.'s work seems to have been for Parisian "marchands-merciers", who would supply him with designs and Chineselacquer screens, to be cut up and applied in lieu ofmarquetry panels. For such decorator-dealers asSimon-Philippe Poirier he provided furniture mounted withSèvres porcelain plaques, a luxury decor that Poirier had invented. A mechanical table with a nest of drawers that rise from the top on release of a spring [At the Musée Nissim de Camondo, Paris. [http://www.lesartsdecoratifs.fr/fr/04museecamondo/03visite/01collections/petit_bureau_oeuvre6.html] ] bears R.V.L.C.'s stamp and Poirier's name written in a drawer. R.V.L.C. often used marquetry designs and gilt-bronze mounts very similar to those used by his brother-in-law Oeben (Eriksen 1974:224)He even habitually supplied work that was delivered by the ageing "ébéniste du Roi"
Gilles Joubert : the R.V.L.C. stamp appears on a commode in conservative neoclassical taste, with pictorial marquetry of vases and trophies of the arts, that was delivered in 1769 by Joubert for Madame Victoire atChâteau de Compiègne [Eriksen 1974:plate 119; the commode is in theFrick Collection , New York.] , on a commode for the comtesse de Provence at Fontainbleau in 1771, and on one of a pair of commodes delivered by Joubert for the "Salon de Compagnie" of Mme du Barry there in 1772 [One now at the Walker Art Gallery, Liverpool, ex-collection the Hon John JB Fermor-Hesketh [http://www.liverpoolmuseums.org.uk/walker/collections/research/spoliation/Joubert.asp] .]R.V.L.C. held several important positions in the Parisian cabinet-makers' guild, the "Corporation des menuisiers-ébénistes", before retiring from business at the disruption of his clientele by the
French Revolution and died in 1799.Pieces by R.V.L.C. figure in all the national collections of decorative arts, and qusi-national ones like that at
Waddesdon Manor , or theMusée Nissim de Camondo , Paris, [ [http://www.lesartsdecoratifs.fr/fr/04museecamondo/03visite/01collections/oeuvre16.htmlMusée Nissim de Camondo, "table volante" stamped R.V.L.C., of typical form painted with open trellis-work intended to match aSèvres porcelain tray-top, of the type associated with the "marchand-mercier"Simon-Philippe Poirier , ca. 1760] ] , ] and in numerous private collections.Notes
References
*Eriksen, Svend, 1974. "Early Neo-Classicism in France" (London: Faber). Brief biography, pp 223-24.
*Watson, Francis J.B., 1962. '"Furniture by Bernard II van Risamburgh in the Royal Collection", "Burlington Magazine" 104 (August 1962), pp 340-344.External links
* [http://www.getty.edu/art/gettyguide/artMakerDetails?maker=883&page=1 Getty Museum: Roger Vandercruse Lacroix]
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