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拍品專文
Adrien Faizelot Delorme, maître in 1748.
Established in the rue du Temple, Delorme's reputation was founded on his sophisticated floral marquetry, contemporary Almanachs describing him as 'l'un des plus habiles et des plus renommés pour les ouvrages de marqueterie'. Delorme belonged to a family of ébénistes, and was the son of François Delorme, and brother of Jean-Louis Delorme. He established himself in the rue du Temple, both as an ébéniste and a marchand, and worked there mainly in the Louis XV style, until he disposed of his stock in 1783. This table à rognon displays another characteristic of his oeuvre, the use of richly contrasting veneers in a chevron-pattern. This can be seen on the interior of a table by Delorme illustrated in A. Pradère, Les Ebénistes Français de Louis XIV à la Révolution, Paris, 1989, fig.165, p.181, as well as on the legs of a table sold from the Alexander Collection, Christie's New York, 30 April 1999, lot 120.
Established in the rue du Temple, Delorme's reputation was founded on his sophisticated floral marquetry, contemporary Almanachs describing him as 'l'un des plus habiles et des plus renommés pour les ouvrages de marqueterie'. Delorme belonged to a family of ébénistes, and was the son of François Delorme, and brother of Jean-Louis Delorme. He established himself in the rue du Temple, both as an ébéniste and a marchand, and worked there mainly in the Louis XV style, until he disposed of his stock in 1783. This table à rognon displays another characteristic of his oeuvre, the use of richly contrasting veneers in a chevron-pattern. This can be seen on the interior of a table by Delorme illustrated in A. Pradère, Les Ebénistes Français de Louis XIV à la Révolution, Paris, 1989, fig.165, p.181, as well as on the legs of a table sold from the Alexander Collection, Christie's New York, 30 April 1999, lot 120.