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Lot Essay
Conceived in the 'antique' manner, this centerpiece is based upon the tripod stand discovered in the Temple of Isis at Pompeii and now in the Museo Archeologico, Naples. Enjoying considerable importance during the Neoclassic period the stand was widely copied during the 19th century, serving as the model for a number of baptismal fonts by Luigi and Francsco Monfradini, one of which was given by the city of Milan to the Empress Marie-Louis in 1811 (see an autographed copy illustrated in H. Ottomeyer & P. Pröschel, Vergoldete Bronzen, Munich, 1986, vol. II, p. 402, no. 5.19.1). Another autographed Manfradini font was also given to the king of Rome in 1813 (illustrated in The Age of Neo-Classicism, exhib. cat., London, 1972, pl. XII, no. 1828).
The attribution of this centerpiece to Denière et Matelin is based on an identical pair of centerpieces in the dining room of the White House, Washington D.C.. This latter pair were acquired under the direction of James Monroe in 1817 following his inauguration (illustrated B. Monkman, The White House: Its Historic Furnishings & First Families, New York, 2000, p. 59). In the government acquisition order, they were described as 2 rich mat gilt Trepieds copies after the Antique purchased to accompany the Denière et Matelin plateau (see ibid, p. 283).
The firm of Denière et Matelin was active from around 1797 through 1820 and is best known not only for their work in high quality gilt-bronze but also as makers and sellers of fine furniture. In 1813, the firm had their workshops at 58, rue de Turenne, and a shop at 15, rue Vivienne. Subsequently, their workshops moved and expanded to 9, rue d'Orléns-au-Marais. Frequently collaborating with the prominent ébéniste Félix Remond, their clientele included such prominent members of European and French society as the Count Roederer and the Duke and Duchesse de Berry. Later, following the dissolution of the partnership, Denière frequently supplied goods to the Garde-Meuble of Charles X and Louis-Phillipe for the Château de Tuileries, the salon du Conseil of the Palais de l'Elysée and the Grand Trianon.
Most interestingly, writing to the Comte de Montalivet, the Minister of the Interior, regarding a government loan on 23 April 1811, the firm mentions;
Les productions de notre fabrique sont les bronzes dorés du Couronnement de Milan, une portion de ceux de Pris...
This intriguing reference to Milan suggests a highly likely relationship between the Manfradini baptismal fonts already mentioned and the smaller scaled centerpieces by the Paris-based Denière et Matelin. The wider European popularity of this Antique model is demonstrated by a nearly identical design published by Thomas Hope in 1807 (see D. Watkin, Thomas Hope: Regency Furniture and Interior Decoration, New York, 1971, plate XI, no. 5 on p. 41 and plate XXV, no. 2 on p. 69).
The attribution of this centerpiece to Denière et Matelin is based on an identical pair of centerpieces in the dining room of the White House, Washington D.C.. This latter pair were acquired under the direction of James Monroe in 1817 following his inauguration (illustrated B. Monkman, The White House: Its Historic Furnishings & First Families, New York, 2000, p. 59). In the government acquisition order, they were described as 2 rich mat gilt Trepieds copies after the Antique purchased to accompany the Denière et Matelin plateau (see ibid, p. 283).
The firm of Denière et Matelin was active from around 1797 through 1820 and is best known not only for their work in high quality gilt-bronze but also as makers and sellers of fine furniture. In 1813, the firm had their workshops at 58, rue de Turenne, and a shop at 15, rue Vivienne. Subsequently, their workshops moved and expanded to 9, rue d'Orléns-au-Marais. Frequently collaborating with the prominent ébéniste Félix Remond, their clientele included such prominent members of European and French society as the Count Roederer and the Duke and Duchesse de Berry. Later, following the dissolution of the partnership, Denière frequently supplied goods to the Garde-Meuble of Charles X and Louis-Phillipe for the Château de Tuileries, the salon du Conseil of the Palais de l'Elysée and the Grand Trianon.
Most interestingly, writing to the Comte de Montalivet, the Minister of the Interior, regarding a government loan on 23 April 1811, the firm mentions;
Les productions de notre fabrique sont les bronzes dorés du Couronnement de Milan, une portion de ceux de Pris...
This intriguing reference to Milan suggests a highly likely relationship between the Manfradini baptismal fonts already mentioned and the smaller scaled centerpieces by the Paris-based Denière et Matelin. The wider European popularity of this Antique model is demonstrated by a nearly identical design published by Thomas Hope in 1807 (see D. Watkin, Thomas Hope: Regency Furniture and Interior Decoration, New York, 1971, plate XI, no. 5 on p. 41 and plate XXV, no. 2 on p. 69).