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An overview of the works of Jean-Henri Riesener shows that in his creative process between 1770 and the end of the Ancien Régime there is a constant desire to produce furniture that demonstrates a strong contrast in both polychromy and material effects. In certain instances Riesener’s creations highlight the need to use models developed by earlier ebenists such as André-Charles Boulle, Jean-François Oeben and, to a certain degree, those which emerged from the research of Pierre-Élisabeth de Fontanieu concerning imitation semi-precious stones. The new decorative repertoire which was introduced into the arts from 1750 onwards was heavily inspired by antique architecture. Marble, porphyry, lapis lazuli and jasper were sought-after materials for ornaments in the antique style. Riesener was inspired by these ornaments in his marquetry work.