An important pair of Empire gilt and patinated bronze mounted mahogany consoles attributed to Jacob-Desmalter et Cie with mounts attributed to Pierre-Philippe Thomire, each with a rectangular white marble top above a frieze drawer centred by an anthemion banded rectangular gilt bronze plaque featuring a pair of classical maidens seated either side of a torchère and flanked either side by ribbon-tied wreaths above square tapering supports headed by classical female caryatid busts wearing crowns and terminated by human feet appearing below a band of drapery, the unusually large rectangular posterior angular supports flanking a mirrored glass on a breakfronted rectangular plinth Height 99 cm, width 137 cm, depth 44.5 cm. each Paris, date circa 1805-10 Provenance: Acquired in Paris by comte Nicolas-Antoine-Xavier de Castella de Berlens (1767-1830) for his home at Château de Wallenried, near Freiburg, Switzerland. Literature: Ghislain de Diesbach, “Un Nid de Souvenirs en Suisse”, in “Connaissance des Arts”, February 1968, pp. 64 and 65, illustrating the present consoles in situ in the Grand Salon at Château de Wallenried. Denise Ledoux-Lebard “Le Grand Trianon: Meuble et Objets d’Art”, 1975, p. 41, illustrating one of two similar consoles with caryatid classical busts by Jacob-Desmalter delivered in 1805 by François-Honoré-Georges Jacob-Desmalter to the Salon Intérieur at the Grand Trianon. And p. 171 illustrating one of three similar consoles with Egyptian caryatid busts by Jacob-Desmalter likewise delivered to the Salon Intérieur at the Grand Trianon in 1805. Knowing the history of specific works of art not only adds interest but also importance to them as in the case of these fine consoles which were acquired in Paris by comte Nicolas-Antoine-Xavier de Castella de Berlens and for nearly two centuries have stood at his Swiss home of Château de Wallenried. The comte came from a noble background, whose family had lived at the historic castle since the mid seventeenth century. Following the death of his paternal uncle Rodolphe de Castella de Berlens (1705-93), Nicolas-Antoine-Xavier, son of the latter’s brother comte Albert-Nicolas, inherited the castle and all its estate lands. For more than a century various members of the family had distinguished themselves in military service to the French and Nicolas-Antoine-Xavier was no exception. In January 1792 he became aide-camp to Prince Xavier of Saxony, fighting against the French Republican army and was then to serve under Napoleon in a series of campaigns. Having been made a Colonel in 1806 he was then promoted to the rank of General-de-Brigade and was also awarded an Officier de la Légion d’Honneur in November 1812 having been seriously wounded in October that year in a heroic defense against the town of Polotzka during the French retreat from Russia. He thus spent a period of convalescence at his hôtel in Paris, where from 1806-12 the comte had regularly stayed, spending much of his free time acquiring fine works of art from the most fashionable ateliers to furnish Château de Wallenried. In this he was like his uncle, who had also furnished the castle with the finest pieces. In addition to the present consoles, the collection acquired in Paris was in the prevailing Empire style and included a pair of gilt bronze mounted mahogany lits de repos attributed to Bernard Molitor, a fine suite of mahogany seats and settees with monopodia supports as well as a pair of winged Victory candelabra by Pierre-Philippe Thomire, elaborate chandeliers, silk hangings and papier peints. In 1820 the comte commissioned the construction of the Grand Salon in the castle’s east wing where these consoles and his other newly acquired pieces stood below a series of nine large allegorical paintings by Charles Meynier (1768-1832). Nicolas-Antoine-Xavier, who was awarded a Commander de la Légion d’Honneur in 1814 and received the medal de St Louis, was not only known for his prowess as a military leader and as a connoisseur of the arts but also for the improvements he made to the agricultural lands on his estate. He died in France as an officer in the reserve army; his Swiss estate was then inherited by his son Rodolphe, whose own death brought about the end of that particular branch of the family. Château de Wallenried was then owned by the Delley family and remained so until it was eventually sold in 1995. Although the exact authorship of these fine pieces is unrecorded, based on their style and quality they can be attributed to the esteemed firm of ébénistes Jacob-Desmalter et Cie and the bronzes to the celebrated fondeur-ciseleur Pierre-Philippe Thomire (1751-1843) who often collaborated with the latter. Jacob-Desmalter was one of the most important firms of furniture makers during the Empire and Restauration. When its founder Georges Jacob (1739-1814), the greatest menuisier of the Louis XVI period, retired in 1796 he was succeeded by his two sons Georges II (1768-1803) and François-Honoré-Georges Jacob (1770-1841), who worked under the name of Jacob Frères. However Georges II died shortly after so his brother, who added the suffix of Desmalter (named after one of his father’s properties in Burgundy), went back into business with his father at rue de Meslée and renamed the firm Jacob-Desmalter et Cie. During the Empire François-Honoré-Georges was described as menuisier-ébéniste, fabriquant des meubles et bronzes de LL., MM., II. et RR (Leurs Majestés Impériales et Royales), implying that he played an active role in the practical side of the firm’s craftsmanship. Following Jacob-Desmalter’s appointment as ébéniste de l’Empereur the firm’s activities significantly increased. Numerous commissions came from the Garde-Meuble Imperial to supply furniture to various Bonaparte residences, especially those of the Empress Joséphine. The firm was also patronised by many notable figures and rich Parisian bourgeoisie. Commissions also came from abroad, from Czar Alexander I of Russia and Charles IV of Spain. Among the firm’s most important surviving items are the Imperial throne at Fontainebleau, the jewel cabinet made for Marie-Louise and the display cases in the Cabinet des Antiques at the Bibliothèque Nationale, Paris. Jacob-Desmalter’s work can also be admired in numerous other collections including the Châteaux de Compiègne, Fontainebleau, Malmaison, Versailles and Sceaux l’Ille-de-France as well as the Musées du Louvre, Marmottan, Mobile National, Grand Trianon, Napoléon and Tours. The Bibliothèque Marmottan, Banque de France, Ministère des Affaires Etrangères and the Palais d’Aranjuez in Spain are among many others to own Jacob-Desmalter’s work. The quality of the carving and the overall finish perfectly offsets the superb bronze mounts, which based on their quality, intricacy and style can be attributed to the finest bronzier of the time, namely Pierre-Philippe Thomire. So great was his repute that Thomire not only received direct commissions to furnish the Imperial palaces with candelabra, centrepieces, vases, clock cases and other objects purely in bronze but also produced furniture under his own name and in addition worked closely with the leading ébénistes of his day such as Jacob-Desmalter for whom he supplied sumptuous decorative mounts.