拍品專文
Jean Gourdin, dit Père Gourdin, maître-menuisier in 1714.
In 1751 d'Argenson, marquis de Voyer, commissioned the ornamentistes and dessinateurs du Roi Nicolas and Dominique Pineau to design the interiors of his newly erected château at d'Asnières and it was to the menuisier Jean Gourdin that he turned for the furnishings. The connection between Pineau and Gourdin was already well established before 1755, when Pineau ordered two 'lits à la colonne' for his own use from the menuisier, and it was therefore natural for him to employ Gourdin at Asnières, a commission that amounted to the considerable sum of 1,791 livres in 1757.
These fauteuils, with their faint traces of polychrome higlighting, may well be identifiable with the suite of:
deux ottomanes
quatre petits canapés à deux places
huit fauteuils... le tout de velours ciselé le plus à la mode blanc, vert, rouge, et jaune, les bois tous dorés...3600 livre'
recorded in the salon at Asnières (Bruno Paris, Grands Décors Francais, Paris, 19...p. 276).
The attribution of the design of these fauteuils to Nicolas and Dominique Pineau is further confirmed by designs on two pages of a notebook from the Tessin Collection in the National Museum, Stockholm, which depicts an extremely closely related sculptural fauteuil. This link between comte Tessin and the frères Pineau was first established by the researches of Deshairs and Biais on Pineau.
A virtually identical fauteuil, which displays the very unusual and distinctive rocaille joint between armrest and style, is depicted in the portrait of Monsieur et Madame de Faventines by Valade at the château de Maisons-Lafitte (inv. ML606).
A further set of four fauteuils was sold from the collection of Roberto Polo at Ader-Tajan, Paris, 7 November 1991, lot 142 (363,000 FF).
JEAN GOURDIN, DIT PERE GOURDIN
Jean Gourdin was appointed maître-menuisier in 1714 and installed his workshop in the 'rue des menuisiers parisiens', the rue de Cléry. Patronised by the marquis de Bercy and the duchesse de Mazarin in 1737, he employed the stamp until his two sons, Jean-Baptiste and Michel were also raised to the maîtrise in 1748 and 1752, after which he stamped his oeuvre 'Père Gourdin'.
In 1751 d'Argenson, marquis de Voyer, commissioned the ornamentistes and dessinateurs du Roi Nicolas and Dominique Pineau to design the interiors of his newly erected château at d'Asnières and it was to the menuisier Jean Gourdin that he turned for the furnishings. The connection between Pineau and Gourdin was already well established before 1755, when Pineau ordered two 'lits à la colonne' for his own use from the menuisier, and it was therefore natural for him to employ Gourdin at Asnières, a commission that amounted to the considerable sum of 1,791 livres in 1757.
These fauteuils, with their faint traces of polychrome higlighting, may well be identifiable with the suite of:
deux ottomanes
quatre petits canapés à deux places
huit fauteuils... le tout de velours ciselé le plus à la mode blanc, vert, rouge, et jaune, les bois tous dorés...3600 livre'
recorded in the salon at Asnières (Bruno Paris, Grands Décors Francais, Paris, 19...p. 276).
The attribution of the design of these fauteuils to Nicolas and Dominique Pineau is further confirmed by designs on two pages of a notebook from the Tessin Collection in the National Museum, Stockholm, which depicts an extremely closely related sculptural fauteuil. This link between comte Tessin and the frères Pineau was first established by the researches of Deshairs and Biais on Pineau.
A virtually identical fauteuil, which displays the very unusual and distinctive rocaille joint between armrest and style, is depicted in the portrait of Monsieur et Madame de Faventines by Valade at the château de Maisons-Lafitte (inv. ML606).
A further set of four fauteuils was sold from the collection of Roberto Polo at Ader-Tajan, Paris, 7 November 1991, lot 142 (363,000 FF).
JEAN GOURDIN, DIT PERE GOURDIN
Jean Gourdin was appointed maître-menuisier in 1714 and installed his workshop in the 'rue des menuisiers parisiens', the rue de Cléry. Patronised by the marquis de Bercy and the duchesse de Mazarin in 1737, he employed the stamp until his two sons, Jean-Baptiste and Michel were also raised to the maîtrise in 1748 and 1752, after which he stamped his oeuvre 'Père Gourdin'.