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拍品專文
Etienne Lenoir, maître-horloger in 1743.
Despite any conclusive documentary evidence, six models of barometer can confidently be attributed to André-Charles Boulle on the basis of comparison with his known clock models (J.N. Ronfort, 'André-Charles Boulle: die Bronzearbeiten und seine Werkstatt im Louvre', Vergoldete Bronzen, Munich, 1986, vol.II, pp.509). The design of this model, known as a baromètre à pyramide is related to Jean Bérain's published designs, such as that for a Pendule aux Harpies (op.cit., vol.I, fig. 1.15.1). The example in the museé des Techniques was seized during the Revolution from M. Lenoir du Breuil and another is in the Jones Collection at the Victoria & Albert Museum, London (no. 1122-1882; op. cit., Vol.I, fig. 1.5.2.). Interestingly, a number of features on the Jones barometer, including the neo-classical character of the oval portrait medallion, the signature of a Louis XVI physicien Ciceri on the dial and the use of the constructional technique of attaching the mounts from behind, thereby concealing the screws have all prompted the suggestion that it may well date from the Louis XVI period, rather than the Louis XIV period.
This conclusion on dating is entirely consistent with the constructional and chasing techniques employed on the Wildenstein barometer. Indeed, marchands such as Julliot and Levasseur were no doubt supplying barometers to the amateurs of the late 18th century. For a comprehensive discussion of the activities of the Julliot dynasty in Boulle furniture, see Alexandre Pradère's introductory essay to Volume III.
A barometer of this identical model, acquired in Paris shortly after the French Revolution by George, 5th Earl of Essex (d.1839) was sold from Cassiobury Park at Christie's London, 1893 (see lot 30). Another was sold in the Seligman sale, Paris, 4 June 1935, lot 135 (112cm. high), whilst a final variant was sold from the Riahi Collection, Christie's New York, 2 November 2000, lot 31.
Despite any conclusive documentary evidence, six models of barometer can confidently be attributed to André-Charles Boulle on the basis of comparison with his known clock models (J.N. Ronfort, 'André-Charles Boulle: die Bronzearbeiten und seine Werkstatt im Louvre', Vergoldete Bronzen, Munich, 1986, vol.II, pp.509). The design of this model, known as a baromètre à pyramide is related to Jean Bérain's published designs, such as that for a Pendule aux Harpies (op.cit., vol.I, fig. 1.15.1). The example in the museé des Techniques was seized during the Revolution from M. Lenoir du Breuil and another is in the Jones Collection at the Victoria & Albert Museum, London (no. 1122-1882; op. cit., Vol.I, fig. 1.5.2.). Interestingly, a number of features on the Jones barometer, including the neo-classical character of the oval portrait medallion, the signature of a Louis XVI physicien Ciceri on the dial and the use of the constructional technique of attaching the mounts from behind, thereby concealing the screws have all prompted the suggestion that it may well date from the Louis XVI period, rather than the Louis XIV period.
This conclusion on dating is entirely consistent with the constructional and chasing techniques employed on the Wildenstein barometer. Indeed, marchands such as Julliot and Levasseur were no doubt supplying barometers to the amateurs of the late 18th century. For a comprehensive discussion of the activities of the Julliot dynasty in Boulle furniture, see Alexandre Pradère's introductory essay to Volume III.
A barometer of this identical model, acquired in Paris shortly after the French Revolution by George, 5th Earl of Essex (d.1839) was sold from Cassiobury Park at Christie's London, 1893 (see lot 30). Another was sold in the Seligman sale, Paris, 4 June 1935, lot 135 (112cm. high), whilst a final variant was sold from the Riahi Collection, Christie's New York, 2 November 2000, lot 31.