Louis Malard and the Maison Malard

Louis Malard, a renowned cabinetmaker, managed a furniture factory and showroom located at 9 bis, rue de Maubeuge in Paris. His professional activity is documented between 1886 and 1903. The Maison Malard was known for designing and selling furniture in various styles, specializing in historical revivals ranging from the Merovingian period (Dagobert) to Louis XVI.

At the 1900 Universal Exhibition, Malard displayed an innovative bedroom set combining wood and wrought iron, which the jury found both curious and interesting for its functional design. This pursuit of balance between historical aesthetics and utility is also evident in his earlier Egyptian-inspired creations.

The Ramesside Bed at the 1889 Universal Exhibition

Introduced at the 1889 Universal Exhibition, this bed is a unique and spectacular production by Maison Malard. In this high-level international competition, Malard demonstrated the excellence of his craftsmanship, earning a silver medal. The complete set, which included the bed, a bench, and two chairs, was purchased after the exhibition by Countess Bathilde Ducos.

Crafted from solid carved walnut, waxed and highlighted with three shades of gold (yellow, red, and green), this furniture belongs to the 19th-century Egyptomania movement. Rather than a strictly rigorous archaeological copy, Malard aimed to evoke the feeling of an imaginary journey to ancient Egypt. The imposing canopy resembles the entrance to an Egyptian temple, likely inspired by the Ptolemaic gate of Karnak or the small temple of Philae.

The headboard takes the trapezoidal shape of a temple pylon. It features a narrative scene depicting Pharaoh Ramesses II on his chariot during the Battle of Kadesh, a motif directly inspired by the low reliefs of the Great Temple of Abu Simbel. Two life-sized seated female statues, posed in a formal hieratic style, flank the bed and serve as bedside tables. At the foot of the frame, two reclining lions wearing the nemes headdress complete this majestic setting. This work reflects a lavish and free interpretation of Pharaonic art, prioritizing monumental grandeur over strict historical accuracy.