拍品专文
Jean Gourdin, dit Gourdin Père, maître menuisier in 1714
THE PROPERTY OF A NOBLEMAN
(Lots 16-19)
This suite of six fauteuils is the work of the celebrated menuisier Jean Gourdin, dit Gourdin père. Appointed maître menuisier in 1714 and established in the rue de Cléry by the sign of 'Saint Jacques', Jean Gourdin was patronised by Malon de Bercy and the duchesse de Mazarin, whose hôtel had been redesigned by Nicolas Pineau. Flourishing until 1764, Gourdin employed two stamps during his long career. The first, 'I.G.', served until circa 1748, when his son Jean-Baptiste Gourdin (maître in 1748) came to join him at the sign of the 'Nom de Jesus', rue de Cléry. Thereafter he used that of PERE GOURDIN
The profile of these fauteuils is close in inspiration to a drawing in the Musée des Arts Décoratifs, Paris (no. 13577), attributed to Juste-Aurèle Meissonier (1695-1750), goldsmith to Louis XV and in 1726 appointed architecte-dessinateur de la chambre et du cabinet du Roi. The drawing shows the same overall sweep of the back and rockwork carving of the legs and styles, as well as the pronounced cabochon centring the toprail and foliate sprays of the seat-rail
The suite was regessoed, regilded and reupholstered in the 19th Century with associated 18th Century Beauvais tapestry, and the canapé, (lot 19), en suite in design, dates from this restoration
A PAIR OF LOUIS XV GILTWOOD FAUTEUILS by Jean Gourdin
细节
A PAIR OF LOUIS XV GILTWOOD FAUTEUILS by Jean Gourdin
Each with cartouche-shaped channelled back carved with foliate trails, C-scrolls and panels, the cresting centred by a facing asymmetrical rockwork cartouche of acanthus C-scrolls centred by a cabochon and carved at the base with a stylised scallop-shell, above scrolled foliate-trailed outcurved channelled arms, the padded back, arms and seat upholstered à chassis in associated Beauvais tapestry, woven in wools and silks with a paraqueet and a white-breasted finch and a parrot and a further bird across confronting diagonals, the borders woven with peonies, carnations, roses and honeysuckle in an extensive landscape setting, the seats with further dense foliage and flowers, the rockwork carved apron with a further foliate-trailed cabochon clasp with C-scrolls, on foliate-headed channelled cabriole legs and foliate scrolled feet, one stamped ig with pencil inscriptions No. 2, the drop-in seat extensively inscribed, the other with two handwritten paper labels inscribed 2, with pencil inscription No. 3 and scratch mark I, re-gessoed and re-gilt in the 19th Century, minor restorations and areas of re-weaving to the tapestry (2)
Each with cartouche-shaped channelled back carved with foliate trails, C-scrolls and panels, the cresting centred by a facing asymmetrical rockwork cartouche of acanthus C-scrolls centred by a cabochon and carved at the base with a stylised scallop-shell, above scrolled foliate-trailed outcurved channelled arms, the padded back, arms and seat upholstered à chassis in associated Beauvais tapestry, woven in wools and silks with a paraqueet and a white-breasted finch and a parrot and a further bird across confronting diagonals, the borders woven with peonies, carnations, roses and honeysuckle in an extensive landscape setting, the seats with further dense foliage and flowers, the rockwork carved apron with a further foliate-trailed cabochon clasp with C-scrolls, on foliate-headed channelled cabriole legs and foliate scrolled feet, one stamped ig with pencil inscriptions No. 2, the drop-in seat extensively inscribed, the other with two handwritten paper labels inscribed 2, with pencil inscription No. 3 and scratch mark I, re-gessoed and re-gilt in the 19th Century, minor restorations and areas of re-weaving to the tapestry (2)