Russian Trumeau. Dimensions: h. 200x112x58, x88 open. Manufacture: Russia. Attributed to Christian Meyer, active from 1780 to 1800, among the main suppliers of the Hermitage. Period and style: Neoclassical. Late 18th century. Materials: mahogany feather, nutmeg, maple, gilded brass decorations. During the Neoclassical period, some of the most extraordinary furniture was produced in Russia; typical in design and decoration, which makes them immediately recognizable. The cabinetmaking is often of superlative quality. This piece of furniture derives directly from 18th-century troumeaus, but with characteristics of marked neoclassical sobriety and elegance. The pull-out writing surface, like the roller shutter, is the most innovative and distinctive element. Russian furnishings are distinguished by a measured design combined with flair and imagination. In the nineteenth century, models derived from these furnishings, influenced by the subsequent Biedermeier style, evolved further to assume forms that are unusual and sometimes abstruse to us. During this period, the most representative cabinetmaker in Russia was Abraham Roentgen, 1711-93, of German origin. After staying in Paris and becoming one of the leaders of the Lieder city in Europe in the arts, he moved permanently to Russia, where he produced some of the greatest masterpieces of all time. And it is in St. Petersburg, at his school and that of the other foreign masters who reside there, that the nucleus of Russian artists is formed. Among the foreign leaders called to work by the Tsar was also Meyer, also a compatriot of Roentgen, and a famous cabinetmaker. There are as many as nineteen drawers and small drawers in this piece of furniture; in addition to the two pull-out compartments equipped with a secret compartment. The cabinetmaking of absolute quality features a mahogany feather veneer with a single design along the two meters in height of the furniture; even the interiors are made with great lightness. For documentation, see the two similar furnishings published on pages 124 and 125 in "Russian Furniture. The Golden Age 1780-1840" by Antoine Chenevière. This piece of furniture is published on pages 18 and 19 in "Empire Furniture" by Elisabetta Barbolini Ferrari. The above-described furniture is of lawful origin, authentic and original, without prejudice to normal use restorations.