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The Cabinetmaker’s Compromise:

A Commode and the Changing Aesthetic of French Canada

Kyle Johnson

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The increased settlement of New France as a fur-trading colony in the late 17th century led to

the subsequent development and expansion of the region’s interior. As towns and cities grew, so did

their capital, creating a class of wealthy merchants apart from the well-to-do officers and officials. This 1

was most evident in Montreal, as it was the “westernmost point accessible by ocean-going ships” at the

convergence of the St. Lawrence and Ottawa rivers, thus controlling the passages to the Great Lakes

and the interior fur-trading regions. In Montreal, tertiary sectors of the fur trading economy grew to 2

accommodate new inhabitants, transforming the small town into the economic hub for the French fur

trading industry. During this time, population growth in the colony was steady, but in Montreal it

appeared more accelerated, ranging from a few hundred in the later part of the 17th century to

approximately 7,500 in 1760. With these new inhabitants in all socio-economic classes came a rising 3

demand for domestic industries in providing shelter and furnishings. It was these patrons of

woodworkers, carpenters, and cabinetmakers that would dictate the styles of French Canada’s

decorative arts, leaving behind beautifully carved and decorated pieces of vernacular furniture. 

August 11th, 2012 was a pristine day for an auction in Marlborough, Massachusetts. Skinner,

Inc. was holding their annual August Americana sale at their newly acquired Marlborough location. A

multitude of stunning pieces of American decorative arts and furnishings were up for sale, including a

Dunlap-school chest, a J.W. Fiske butterfly weathervane, a carved Hadley chest, and even a one-room

summerhouse. However, none was more exciting than the top grossing lot of the day, a French

Canadian butternut bombe commode, hammering at $65,000 (fig. 1). This was a piece that garnered

1 Holmes, Janet, “Royal Ontario Museum: Canadiana Department,” Material Culture Review 11 (1980). 2 Webster, Donald Blake, Rococo to Rustique: Early French-Canadian Furniture in the Royal Ontario Museum (Toronto: Royal Ontario Museum, 2000), 4. 3 Dechêne, Louise, Habitants and Merchants in Seventeenth-Century Montreal (Montreal: McGill-Queen’s University Press, 1992), 7. 

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much attention from dealers and collectors alike due to its rare form, old surface, and finely executed

carvings. To put it simply, this piece was astonishing. 

This essay will consider the implications of changing aesthetics, fashions, and demographics

within a developing French Canada on domestic furniture design. The bombe commode detailed

above, considered a masterpiece by Canadian collectors, will be attributed to a school of carvers by

examining the stylistic motifs they employed. The significance of this piece as the perfect

representation of the transitional period of styles in French Canada and possibly the best example of

vernacular furniture produced in Montreal warrants this further research. This analysis will be based

on carved Rococo friezes and the artisans’ underlying symbolism, understanding of lines and

proportion, and comparable documented examples. While it is unfortunate that construction details

cannot be ascertained as the commode had been sold and transported by the time of my employment

at Skinner, the aesthetic merits of this piece are strong enough and so unique that the attribution is

unmistakable.  

Eighteenth and nineteenth century French Canadian furniture is not synonymous with

conventionalism in form or ornamentation. It is as varied, if not more so, than French and

Anglo-American pieces of the same era. This is in part thanks to the lack of an existing guild system or

trade association like those employed throughout England and France. Similar to their southern 4

neighbors, French Canada was a melting pot of cultures and ideas, with major design influences taken

from France, Poland, Germany, Ukraine, America, and England. Despite the cessation of New France

to the British in 1763, French Canadian woodworkers and cabinetmakers adhered to a general aesthetic

influenced heavily by simplified French design through the eighteenth and into the nineteenth

4 Palardy, Jean, The Early Furniture of French Canada (Toronto: Macmillan of Canada, 1965), 12.

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centuries. The influence of the Louis XV style, introduced through increased contact with France in 5

the mid-18th century from colonial wars, was perpetuated in varying degrees through the early 19th

century. This was due, in part, to the continued demands of a French majority in the form of 6

merchants, officials, habitants, and seigneurs; with their Provincial tastes perpetuated by their relative

conservatism. 

The second half of the 18th century saw Rococo motifs permeate French and English

decorative arts. While Baroque design continued to be utilized, especially in the era of Thomas

Chippendale, there grew a greater emphasis on fantasy, mythology, and nature. This was manifested 7

in furniture design by the utilization of asymmetrical motifs such as C and S-scrolls, foliate devices,

shell carvings, and other surface ornamentation synonymous with the grotto and the French rocaille

style. It was not until 1780 and later that English styles gained notoriety throughout Quebec. The 8 9

arrival of English and Scottish immigrants coupled with the estimated 6,600 Loyalists fleeing

post-Revolutionary War America to Quebec allowed for significant growth in demand for the

Georgian styles these foreigners had been accustomed to. The influx of these new patrons and styles 10

expedited the decrease in popularity of French furniture design that began to take hold subsequent to

the Seven Years’ War. 

The commode in question exhibits predominantly French features laced with French Canadian

ingenuity and design. The bombe-form commode traces its origins in Continental Europe. The swelled

body can be seen in early Dutch, Italian, German, and French examples; the French being the

5 Pain, Howard, The Heritage of Country Furniture (Toronto: Van Nostrand Reinhold Ltd., 1978), 489. 6 Webster, Rococo to Rustique, 9. 7 Prown, Jonathan, and Richard Miller, “The Rococo, the Grotto, and the Philadelphia High Chest,” American Furniture (1996), 108. 8 Boger, Louise Ade, The Complete Guide to Furniture Styles (New York: Scribner, 1969), 126. 9 Palardy, Early Furniture of French Canada, 28. 10 Jasanoff, Maya, Liberty’s Exiles: American Loyalists in the Revolutionary World (New York: Alfred A. Knopf, 2011), 357. 

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prototype of our pièce de résistance. At first glance, this commode appears to be a Louis XV commode

of classic form, however, the discriminating eye sees an altogether different object. The piece exhibits a

molded square top with ovolo corners on a bombe-form three-drawer case; the sides with recessed

panels, the apron and knees with heavily carved rococo motifs, all terminating on carved claw-and-ball

feet and casters. 

Upon further inspection, there are some apparent peculiarities that stray from traditional

French and even French Canadian bombe chests. Generally, commodes of French Canadian origin

have paneled or reeded stiles, as opposed to this atypical example, displaying elaborate carvings. In

typical examples of Louis XV commodes, this carving, generally confined to the apron, would be

replaced with elaborate and opulent ormolu mounts depicting cyma scrolls, foliate devices, and masks

of classical figures and caryatids. When looking at the piece in question, one can see where, stylistically,

English or American design has influenced the form and function. This is apparent when discussing its

proportion and analyzing the claw-and-ball feet and its rococo carvings, most notably the cabochons

applied to the swelled stiles.  

The treatment of the feet is considerably unusual, especially by French Canadian standards. To

start, the carved claw-and-ball feet are unlike most carved feet being produced in the region in the late

18th century. While French Canadian style is replete with a wide variety of claw-and-ball feet, these

particular feet are reminiscent of those found on American and Georgian tilt-top tea tables. I believe

the foot of our example to be the interpretation of contemporary design by our French Canadian

woodworker for a patron familiar with styles in vogue overseas and in the Colonies.  

In examples on American and Georgian chests, claw-and-ball feet tend to terminate from

cabriole legs and are quite articulated, showing distinctive talons and claws grasping a ball. Here, the leg

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is a continuation of the bombe profile outward from the case and leading directly into the foot.

Although the foot seems more primitive than its contemporaries, it shows the work of a skilled maker

willing to compromise, incorporating new designs into existing forms successfully. Many examples of

this form in late 18th century France exhibit squat down-swept legs and feet. We notice the long,

slender, unarticulated claw extending outward, playing into the relative narrowness of the case,

exaggerating and accentuating the swell considerably (fig. 2).  

One can see that this piece exhibits greater focus on proportion as it is diminutive in size

relative to its contemporaries; standing thirty and one-quarter inches high, thirty-one inches wide, and

twenty-one inches deep. The majority of examples observed exhibit greater proportions in a truer

French form, with widths ranging up to forty and even fifty inches. Jean Palardy, author of The Early 11

Furniture of French Canada, considers commodes and chests of this diminutive size as not French,

alluding to a more size conscious consumer, familiar with English and American design. While the

bombe form does make an appearance in a few American and English cabinet making centers, never is

it more utilized than by Continental furniture makers, notably the French. Here, the execution of the

bombe form, with its proportion and profile, clearly indicates the work of an individual familiar with

“Canadian character” and a muted Louis XV style. 

The complexity and ambition of the carving denotes the work of a master. At this time there

were only a handful of individuals, mainly working within the Montreal and Quebec areas that were

skilled enough to complete such work. The eye is immediately attracted to the stiles by the bold

asymmetry of the carved, projecting cabochons, an object we commonly find utilized in Philadelphia

high chest cartouches (fig. 3). This motif makes a statement; not only is this commode a seamless and

11 Palardy, Early Furniture of French Canada, 305. 

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beautiful melding of styles, but the carver is fully capable of understanding Rococo design on a deeper

level. It is this cabochon that exhibits the artisan’s spirit of creativity, expression, curiosity, and

defiance, key ideals encouraged within the Rococo movement and decorative arts. The cabochon,

resting on its stylized foliate base bordered by expertly carved C-scrolls, tapering to a vine, makes the

perfect segue into another quintessentially Rococo carved frieze. It is here that the carver displays his

prowess and embraces the fundamental Rococo spirit by creating a truly unique scene. The front

apron of the commode is evocative of moving water, a familiar theme to Rococo design. The 12

scratch-carved accents, the scrolled crosiers along the base of the apron, and the curvatures of the

applied S-scrolls are reminiscent of the chaos of waves. These decorative forms accentuate the relative

aesthetic organization and symmetry of the bombe case. These carvings are the unrestrained expression

of natural freedom and the embodiment of French rocaille design. Here the artisan proves their worth

by effectively and commandingly expressing himself in the mastery of his carving while adhering to

guidelines most likely delineated by the patron. 

With its inclusion of American and English style devices while not being overtly influenced by

either, this piece can be safely dated to the late 18th century, within a ten year period around 1790. This

conclusion is reached by an analysis of the carvings and their stylistic inclusions. The symbiotic

relationship between the French form and rocaille and Anglo motifs denotes the period prior to the

substantial use of English carvings and design in Montreal furniture. Palardy estimates that four-fifths

of all furniture dating from the early colonial days through the 18th century has been lost due to fires

and vandalism. While examples of this rare form still exist, we must also examine armoires, buffets, 13

and church altars and console tables to attain a complete understanding of the carvers contemporary

12 Prown and Miller, “Rococo,” 111. 13 Palardy, Early Furniture of French Canada, 27. 

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with this commode’s artisan. Through the analysis of the carver’s comprehensive knowledge and skill

of carving rococo and rocaille motifs, as well as the utilization of unique devices, we are able to narrow

down the possibilities of carvers responsible for the creation of such an astounding piece.

"The cessation of Canada to the British in 1763 brought to an end the war which had darkened

the lives of Canadians for seven years, and with peace came an unprecedented prosperity. The last 35

years of the eighteenth century and the first two decades of the nineteenth saw a resurgence of

imagination and skill in French Canadian crafts beyond anything known before.” The rate and 14

quality of objects being produced in the Montreal area during this span is unparalleled in Canada.

Montreal, the urban center of this creative resurgence, is where this search is focused, landing squarely

on the Quevillon School of carvers.  

This school, centered around the work of Louis Quevillon, comprised of numerous masters

throughout its existence. We see the likes of Joseph Pepin, Amable Charron, and Urbain Desrochers,

all masters in their own right, with documented associations working for and with Quevillon. Prior to

this, Quevillon’s humble beginnings led him to shingle roofs and carve window frames and furniture.

He eventually rose to prominence around 1790 as a woodworker, receiving commissions to decorate

churches in and around Montreal, carving elaborate altar tables, pulpits, console tables, and

tabernacles. It was through his later works that he was able to hire an extensive team of apprentices, as

many as fifteen at one point, creating an assembly line of specialized labor .  15

A few outstanding examples, attributed to the Quevillon School in Palardy’s The Early

Furniture of French Canada, exhibit telltale signs of the work of this carver. A console table, dating to

the early 19th century, and two commodes, of late 18th or early 19th century origin, share many of the

14 McLean, Eric, “Early French Canadian Furniture,” Antiques, July, 1967, 75. 15 “Louis Quevillon,” Dictionary of Canadian Biography, accessed September 10, 2014, http://www.biographi.ca/en/bio/quevillon_louis_6E.html.

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unique stylistic qualities our commode displays. The two commodes detailed above have very similar

carved aprons, showing a plethora of French rocaille and rococo elements. But within these carvings, an

unusual decoration is used; flanking the C-scrolls is a very stylized kelp motif (fig. 4). Throughout

Palardy’s study, we see that Quevillon’s work incorporates this design in varying degrees. Pieces of 19th

century origin display a bolder variant of this motif, keeping the carved kelp in high relief, while earlier

versions, like the piece in question, showcase a softer, more subtle carving. Another motif synonymous

with the work of Quevillon are articulated crosier terminals of S and C-scrolls. It is this minute detail,

often overlooked, that is indicative of the quality work from this shop seen in our piece.  

Through the examination of a console table, a later example of the Quevillon School’s work

documented in Palardy’s book and dated to the 19th century, it is undeniable that both pieces are of

the same hand (fig. 5). The inclusion of the kelp motif, the execution of the C and S-scrolls, and the

scratch carvings simulating moving water make a compelling case for this attribution. This, coupled

with the claw-and-ball feet and vine-carved knees, characteristics not unique but fairly uncommon in

Montreal woodworking, make for appropriate support evidence. We can make two estimations as to

the purpose of the carving inconsistencies regarding the claw-and-ball feet between the pieces. Had the

commode been carved with an articulated claw, the continuity of the swell of the bombe case would be

compromised, creating a less cohesive and awkward piece of furniture. Alternatively, a progression over

the course of the carver’s career through increased exposure and practice may have led to the level of

refinement exhibited by the feet of the console table.  

In the summer of 2012, a French Canadian butternut commode, a masterpiece in its own right,

was revealed to the world after having sat in relative obscurity as a television stand on Martha’s

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Vineyard. This piece was more than just a commode of Louis XV derivation from late 18th century 16

Montreal. It was the epitome of design within an evolving province, grappling with a French past and

English future. The use of the French bombe form and rocaille carvings coupled with the inclusion of

notably English and American rococo motifs are seamless incorporations into a coherent expression of

the changing times and fashions. Not only does this commode signify the apex of furniture-making

during this transitional period, but it represents a microcosm of French Canadian society successfully

coping with the changing demographics of a post French-colonial world.

 

16 “Auction Highlights: A Rare French Canadian Chest of Drawers,” Skinner, Inc., accessed September 5, 2014, http://www.skinnerinc.com/news/blog/canadian-furniture-antique-chest-of-drawers/.

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Figure 1: French Canadian butternut bombe commode sold at Skinner, Inc. on August 12, 2012 with a hammer price of $65,000. Source: Skinner, Inc., https://www.skinnerinc.com/auctions/2608M/lots/1032 (accessed September 20, 2014).

Figure 2: Detail of the rocaille-carved apron and ball-and-claw feet. Source: http://www.pinterest.com/pin/296604325432916115/ (accessed September 20th 2014).

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Figure 3: Detail of the commode’s cabochon and a Philadelphia high chest’s cabochon. Sources: Skinner, Inc., https://www.skinnerinc.com/auctions/2608M/lots/1032 and Fine Art and Antiques, http://www.antiquesandfineart.com/articles/article.cfm?request=948 (accessed September 20, 2014).

Figure 4: Detail of two Quevillon school commode aprons depicting similar, carved motifs as our example. Of note, the articulation and detail of the C-scrolls and the fineness of the foliage adorning the legs. Source: The Early Furniture of French Canada. Toronto: Macmillan of Canada, 1965. Plates 504 and 503, respectively.

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Figure 5: Quevillon school console table with identical carvings as Skinner’s commode, notably an almost identical treatment of the side skirts and inclusion of numerous scratch-carved curves . Source: The Early Furniture of French Canada. Toronto: Macmillan of Canada, 1965. Plate 440.

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Bibliography

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http://www.skinnerinc.com/news/blog/canadian-furniture-antique-chest-of-drawers/.

Boger, Louise Ade. The Complete Guide to Furniture Styles. New York: Scribner, 1969.

Dechêne, Louise. Habitants and Merchants in Seventeenth-Century Montreal. Montreal: McGill-Queen's

University Press, 1992.

Holmes, Janet. "Royal Ontario Museum: Canadiana Department." Material Culture Review 11 (1980).

Jasanoff, Maya. Liberty's Exiles: American Loyalists in the Revolutionary World. New York: Alfred A. Knopf,

2011.

“Louis Quevillon.” Dictionary of Canadian Biography. Accessed September 10, 2014.

http://www.biographi.ca/en/bio/quevillon_louis_6E.html.

McLean, Eric. "Early French Canadian Furniture." Antiques, July, 1967, 72-77.

Pain, Howard. The Heritage of Country Furniture. Toronto: Van Nostrand Reinhold Ltd., 1978.

Palardy, Jean. The Early Furniture of French Canada. Toronto: Macmillan of Canada, 1965.

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Prown, Jonathan, and Richard Miller. "The Rococo, the Grotto, and the Philadelphia High Chest." 

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Webster, Donald Blake. Rococo to Rustique: Early French-Canadian Furniture in the Royal Ontario  

Museum. Toronto: Royal Ontario Museum, 2000.