Large Authentic Antique French Provincial Armoire Early 1800

Details

Description

Large French Provincial Armoire with molded top leading to two carved doors that open to reveal large storage space with … Read more Large French Provincial Armoire with molded top leading to two carved doors that open to reveal large storage space with three shelves, over carved shell details and shaped apron ending in bracket feet. Top shelve has been replaced at some point, everything else original , including paint. Real beauty.
Bought by an estate in Connecticut from one of the largest antique markets in the world "Paul Bert Serpette Antique Market" in Paris and shipped via New York to Westport CT.
Early 1800s French provincial armoires, often made from local woods like pine, oak, or walnut, were painted to bring light into rural homes, with colors designed to complement, not dominate, the interior. While many were left as natural wood, painted examples often featured muted, chalky tones. The "white with bluish undertones" look typical of this era (often influenced by Gustavian or coastal, northern French styles) was achieved through layering, natural weathering, and specific painting techniques.
Painting Techniques and Finishes
Lime Wash and Milk Paint: In the early 19th century, paints were often made from natural ingredients like lime, casein (milk paint), or water-based binders. These created a flat, matte, or chalky finish that allowed the wood to breathe and aged gracefully.
Layering for Depth: To achieve a white with blue undertones, painters would apply a base coat of a light, neutral color (such as soft white, cream, or light gray) followed by a thin, watered-down wash of pale blue, such as cerulean or duck egg blue.
Distressing and Antiquing: The finish was not meant to look perfect. Painters would rub back areas of the paint to reveal the wood underneath, particularly on carvings, edges, and corners. A thin brown or grey glaze was often applied, particularly in carved details, to simulate decades of dust and wax buildup.
Wax Finish: The final protective layer was typically a clear or slightly tinted wax, which was buffed to a soft sheen rather than a high gloss, protecting the painted surface while enhancing the patina.
Key Colors and Tones
Base: Off-white, ivory, or antique white.
Undertones: Pale, grayish-blue (often referred to as "duck egg blue" or "coastal blue"), or soft lavender.
Accents: Occasionally, subtle gilding or contrasting dark grey/black was added to carvings to emphasize them.
Common Characteristics
Subtle Color Palette: Colors were drawn from the natural surroundings—soft pastels, earthy neutrals, and pale tones.
Textured Appearance: Unlike modern spray-painted finishes, these were brushed on, creating subtle texture and variations in color depth.
Wear Patterns: The paint would be thinnest on raised carvings and at the bottom, where the piece would have been cleaned or handled most frequently. See less