Pair of lacquered corner tables by L.Foureau, Paris Louis XV period, around

Rare pair of corner tables decorated with « vernis Martin » imitating Chinese lacquer. 
Model of curved form opening by a door in front ; The curved uprights end in arched legs that are connected by a delicately curved crosspiece. 
The doors are decorated with an important decoration made with gold powder on a black background consisting of a several hunting scenes (one with a deer, the other with a poultry bird), il a lake landscape decorated with houses and characters in traditional Chinese costumes. 
The uprights and the crosspiece have a nice floral decoration in frames made of borders. 
 
Original marble top, « brèche d’Alep ». 
Oak frame and shelves. 
 
Good condition, small restorations of use to the decoration. 
The two corners stamped « L. FOUREAU* » and punches of swearing « JME ». 
 
Parisian work of the Louis XV period, around 1760 by Louis Foureau.  
 
Dimensions : 
 
Height : 86 cm ; Widht per side : 53 cm ; Depth : 52 cm. 
 
*Louis Foureau is a Parisian cabinetmaker who became a master on November 27, 1755. 
 
This cabinetmaker established on the « rue du Faubourg Saint-Denis » will produce for about thirty years almost exclusively furniture decorated with varnish in imitation of China. 
Preferring decorations to forms, his production remains very sober and the presence of bronzes quite rare. 
 
Our view : 
 
The pair of corner pieces we present is a very good example of the production of the cabinetmaker Louis Foureau who specialized in « vernis Martin » decorations imitating the lacquers of Japan and China. 
Working in concert with a workshop in the Faubourg Saint-Antoine, he was one of the great representative of this fashion. 
The pure and light lines of our corner pieces with notably rare concave and convex forms, perfectly express the stylistic height of the reign of Louis XV.  
The abundant decor is particulary rich in detail and demonstrates a great knowledge of Chinese civilization. 
Indeed, the architecture of the houses, costumes and the way of representing the animals correspond perfectly to the criteria of the Quianlong era (1735-1796). 
The absence of bronze, recurrent in Foureau’s work, is precisely intended to leave all the space to the decoration. 
This type of furniture is still rare in the second part of the 18th century and exclusively reserved for an elite of the nobility.