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拍品專文
François Rémond, maître-doreur in 1774
François Rémond's workshop ledgers in the Archives Nationale, Paris, for the years 1779 to 1787 demonstrate that the model for these wall-lights can be attributed with confidence to this talented ciseleur-doreur. Including the first model which can be dated to 10 November 1785, a total of 23 pairs of this model were supplied to the marchand-mercier Dominique Daguerre between 1785 and 1787, each pair costing 108 livres. Rémond's ledgers record the model as bras à plaque or bras à plateau, some entries mentioning a version with suspended chains from the gallery.
Royal patronage of Rémond's tasteful model is confirmed in two instances. First, the head of Marie-Antoinette's Garde-Meuble, Bonnefoy-Duplan, bought six pairs with bobèches riches et découpures ajustées de chaines, poires et oeufs from Daguerre on 22 November 1785 for the Queen's hameau. Likewise, on 26 June 1785 Daguerre supplied a pair to the Princesse Kinksy, née Marie-Léopoldine-Monique, comtesse Pélfy, the widow of François-Joseph, Prince Kinsky. At that time, they were described as une paire de bras à deux lumières sur plaque carrée en bronze doré d'or mat (C. Baulez, 'Le Luminaire de la Princesse Kinsky', L'Estamplille/L'Objet d'Art, May 1991, pp. 84-99). This pair was recently sold anonymously at Christie's Monaco, 15 June 1997, lot 91.
Despite this seeming firm association to the ciseleur-doreur Rémond and the marchand-mercier Daguerre, it is interesting to note suggestive to find this model of wall-light being delivered by the fondeur Blondelet prior to 1785. For example, four pairs commissioned by the intendant du Garde-Meuble Jean Hauré, delivered on 28 October 1784 for Marie-Antoinette's petits appartements at Versailles, were described as with deux lumières, dont les bobèches sont posées sur des plaque décorées de mirzas, de chaînes det de perles, dorées d'or moulu, à raison de 120 livres par paire. Another pair were ordered at the same time by Madame de Ville d'Avray for her bedroom at the hôtel du Garde-Meuble as the wife of the intendant du Garde-Meuble. Verlet, however, notes that these could have been supplied by Rémond through Daguerre (P. Verlet, Les Bronzes Doré's Français du XVIIe Siècle, Paris, 1987, p. 90, no. 97). Despite this series of highly important commissions, Blondelet remains an enigmatic figure. One of the known facts about this fondeur is that he worked with Rémond on occasion (Baulez, op. cit, pp. 97-8). One possibility for the model's authorship is that Blondelet was responsible for their early creation, while the partnership of Rémond and Daguerre commercialized their supply.
FRANÇOIS RÉMOND
Unlike fellow artisans like Claude-Jean Pitoin, who was born into a celebrated dynasty of craftsmen and pursued the family tradition, Rémond was the son of a voiturier, who placed him as an apprentice in the workshop of the little-known maître-doreur Pierre-Antoine Vial in 1763. In spite of this inauspiciuos beginning, Rémond became one of the most celebrated ciseleur-doreurs under Louis XVI, working for a distinguished clientele comprising, amongst others, the comte d'Artois, his sister-in-law Marie-Antoinette, the duc de Penthiève and the comte d'Adhémer.
The extent and diversity of his work for numerous ébénistes (Riesener, Roentgen and Frost), horlogers (Lépine, Festaux and Voisin), bronziers (Osmond, Saint-Germain, Féloix and Gouthière) and marchand-merciers (Granchez, Julliot and Daguerre) was particularly outstanding. Such large-scale collaborative work was quite unusual and impressive for a single workhop, resulting in the frequent attribution of many of his pieces to other leading contemporary maîtres. However, thanks to the reappearance of Rémond's ledges on the Parisian artmarket in 1983, pieces which were originally thought to be by Gouthière, for instance, have now been re-identified with Rémond.
A set of four nearly identical wall-lights, formerly in the collection of Baroness René de Becker, is now in the Metropolitan Museum of Art (F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. II, cat. no. 238 A-D).
François Rémond's workshop ledgers in the Archives Nationale, Paris, for the years 1779 to 1787 demonstrate that the model for these wall-lights can be attributed with confidence to this talented ciseleur-doreur. Including the first model which can be dated to 10 November 1785, a total of 23 pairs of this model were supplied to the marchand-mercier Dominique Daguerre between 1785 and 1787, each pair costing 108 livres. Rémond's ledgers record the model as bras à plaque or bras à plateau, some entries mentioning a version with suspended chains from the gallery.
Royal patronage of Rémond's tasteful model is confirmed in two instances. First, the head of Marie-Antoinette's Garde-Meuble, Bonnefoy-Duplan, bought six pairs with bobèches riches et découpures ajustées de chaines, poires et oeufs from Daguerre on 22 November 1785 for the Queen's hameau. Likewise, on 26 June 1785 Daguerre supplied a pair to the Princesse Kinksy, née Marie-Léopoldine-Monique, comtesse Pélfy, the widow of François-Joseph, Prince Kinsky. At that time, they were described as une paire de bras à deux lumières sur plaque carrée en bronze doré d'or mat (C. Baulez, 'Le Luminaire de la Princesse Kinsky', L'Estamplille/L'Objet d'Art, May 1991, pp. 84-99). This pair was recently sold anonymously at Christie's Monaco, 15 June 1997, lot 91.
Despite this seeming firm association to the ciseleur-doreur Rémond and the marchand-mercier Daguerre, it is interesting to note suggestive to find this model of wall-light being delivered by the fondeur Blondelet prior to 1785. For example, four pairs commissioned by the intendant du Garde-Meuble Jean Hauré, delivered on 28 October 1784 for Marie-Antoinette's petits appartements at Versailles, were described as with deux lumières, dont les bobèches sont posées sur des plaque décorées de mirzas, de chaînes det de perles, dorées d'or moulu, à raison de 120 livres par paire. Another pair were ordered at the same time by Madame de Ville d'Avray for her bedroom at the hôtel du Garde-Meuble as the wife of the intendant du Garde-Meuble. Verlet, however, notes that these could have been supplied by Rémond through Daguerre (P. Verlet, Les Bronzes Doré's Français du XVIIe Siècle, Paris, 1987, p. 90, no. 97). Despite this series of highly important commissions, Blondelet remains an enigmatic figure. One of the known facts about this fondeur is that he worked with Rémond on occasion (Baulez, op. cit, pp. 97-8). One possibility for the model's authorship is that Blondelet was responsible for their early creation, while the partnership of Rémond and Daguerre commercialized their supply.
FRANÇOIS RÉMOND
Unlike fellow artisans like Claude-Jean Pitoin, who was born into a celebrated dynasty of craftsmen and pursued the family tradition, Rémond was the son of a voiturier, who placed him as an apprentice in the workshop of the little-known maître-doreur Pierre-Antoine Vial in 1763. In spite of this inauspiciuos beginning, Rémond became one of the most celebrated ciseleur-doreurs under Louis XVI, working for a distinguished clientele comprising, amongst others, the comte d'Artois, his sister-in-law Marie-Antoinette, the duc de Penthiève and the comte d'Adhémer.
The extent and diversity of his work for numerous ébénistes (Riesener, Roentgen and Frost), horlogers (Lépine, Festaux and Voisin), bronziers (Osmond, Saint-Germain, Féloix and Gouthière) and marchand-merciers (Granchez, Julliot and Daguerre) was particularly outstanding. Such large-scale collaborative work was quite unusual and impressive for a single workhop, resulting in the frequent attribution of many of his pieces to other leading contemporary maîtres. However, thanks to the reappearance of Rémond's ledges on the Parisian artmarket in 1983, pieces which were originally thought to be by Gouthière, for instance, have now been re-identified with Rémond.
A set of four nearly identical wall-lights, formerly in the collection of Baroness René de Becker, is now in the Metropolitan Museum of Art (F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. II, cat. no. 238 A-D).