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Lot Essay
PIERRE PHILIPPE THOMIRE, CISELEUR DE L'EMPEREUR
This magnificent pair of campana urn brûles-parfum (with lot 101 in this sale) is typical of the oeuvre of the greatest Empire bronzier-ciseleur, Pierre-Philippe Thomire (d. 1843). Thomire was born into a family of ciseleurs and initially worked for the renowned bronziers Pierre Gouthière (d. 1813) and Jean-Louis Prieur (d. c. 1790), ciseleur-doreur du roi, and quickly established a reputation for producing superbly chased ormolu, becoming maître fondeur-ciseleur in 1772. In 1776 he established his own atelier and as the strength of his reputation grew, it brought much valuable work (and capital), which in 1804 enabled him to purchase the business of Martin-Eloi Lignereux, marchand de dorure et meubles, at 41, rue Taitbout, and expand his atelier dramatically, employing as many as 800 workers. He was quick to adapt to the new severely classical design vocabulary of the Empire, and was undoubtedly influenced by the work of the acclaimed court architect-designers Charles Percier and Pierre Fontaine, who published a collection of their designs, Recueil de Décorations Intérieurs, in 1812. Thomire would have worked alongside them at court and is known to have produced work designed by the famous pairing, amongst whose many notable imperial commissions lies the design for the fauteuil du Trône, for the Salle du Trône at the Château de Saint-Cloud in 1804. In 1806 Thomire became the first bronzier to be allowed to exhibit at the Exposition Publique des Produits de l'Industrie, where he was awarded a gold medal. In recognition of his work at court Napoleon bestowed the title of Ciseleur de l'Empereur on Thomire in 1809. One of the most important objects Thomire supplied to Napoleon was the Vase du Marriage de l'Empereur, which was commissioned by Brongniart to commemorate Napoleon's second marriage, to Marie-Louise of Austria (d. 1847) in 1810. The campana form vase was mounted with a frieze designed by Henri-Victor Roguier (d. 1841) depicting the wedding party (J. Niclausse, Thomire, Paris, 1947, pl. 20).
THE DECORATION
This mode of antique decoration was favoured by Napoleon and his court as a means of displaying his power and majesty through symbolism and allegory, as well as of legitimizing the new regime, by comparison with the mighty Roman and Greek empires of the ancient world. The perfect neoclassical design of these vases is derived from antique prototypes, such as the monumental marble 1st Century AD Medici Vase in the collection of the Uffizi, Florence, or the 1st Century BC Borghese vase in the collection of the Louvre, Paris; the latter having been purchased by Napoleon in 1808. Whilst the fashion for neoclassicism had flourished since the reign of Louis XVI, the new neoclassicism promoted by Napoleon was spare and much more archeological in approach, implying a sense of permanence. The eagle and the thunderbolt, both employed prominently here, are symbols of the King of the Roman gods, Jupiter. The temple of Jupiter was the most important in ancient Rome, and was central to the political, as well as the religious life of the great Empire; and Jupiter's eagle was employed as the insignia of the mighty Roman legions. In 1804 Napoleon adopted the eagle, also the ancient symbol of Charlemagne, as the symbol of the new empire and its use here standing on a sphere is intended to show the Napoleonic Empire as a global power. The Bacchic procession below, here interspersed with ancient ram's-mask adorned tripod altars, is derived from the 3-4th century BC panel known as the 'Borghese dancers' in the collection of the Louvre, Paris; and implies the bountiful freedom in store for the supporters of the new regime.
A DIPLOMATIC GIFT?
The political alliance between Emperor Napoleon I and King Frederick I of Württemberg was a complex one. Frederick succeeded to the Duchy of Württemberg on the death of his father in 1797. He was by this time married to his second wife, Princess Charlotte (d. 1828), daughter of George III. In 1800 the Duchy of Württemberg was occupied by the Consulate army and Frederick was forced to temporarily flee to Vienna and Erlangen; this was to be the hostile initiation of his relationship with the future Emperor, however following the peace of 1802 the two would become firm allies. In 1805, Napoleon, by this time elevated to Emperor, recognised Frederick as the newly styled King of Württemberg, in return for the latter's support in the form of a supply of auxiliary troops. Frederick was crowned in January 1806 at Stuttgart shortly before joining Napoleon's Confederation of the Rhine and the fall of the Holy Roman Empire. The new King's loyalty was rewarded with Napoleon's support of Württemberg's annexation of neighbouring territory. Diplomatic relations with Paris were finally cemented with the marriage of his daughter Princess Catharina of Württemberg to Napoleon's younger brother Jérôme Bonaparte in Paris in 1807; an alliance which had the curious side-effect of making George III grandfather-in-law to Napoleon's brother. The couple was installed as King and Queen of Westphalia by Napoleon in 1807, but would only remain until the fall of the Empire in 1813. Napoleon and Württemberg would remain political allies until Württemberg, perhaps in anticipation of the eventual outcome, switched sides during the War of the Sixth Coalition in 1813. A change of allegiance eased by his family ties, not only to the British monarchy but also to the Russian Emperor, Alexander I.
The vehement imperial symbolism, along with the sheer scale and opulence of these vases, certainly supports the tradition that they were a diplomatic gift, as implied by the note which accompanies them. In 1805 Napoleon visited Frederick I at Ludwigsburg Palace, Württemberg, to consolidate their alliance, prior to Frederick being crowned King the following year. The occasion prompted much work on the decorations of the palace, where the two leaders held talks in the 'Mars Room'. Entertainment came in the form of a visit to the theatre where Napoleon saw a production of Don Juan, and apparently the theatre was 'completely done over' for the occasion (K. Merten, Ludwigsburg Palace, Stuttgart, 1992, pp. 42 & 112). The meeting was subsequently recorded in a painting of 1812 by Louis Etienne Watelet (d. 1866), which is now in the collection of the palace of Versailles. Whilst no records have been found to identify the gifts exchanged at this meeting, it is highly likely that significant gifts, such as these vases, would have been made to mark such an important occasion. The giving of diplomatic gifts has always been used to cement alliances and curry favour between the courts of Europe and these gifts were often carefully chosen to display the power and intent of the giver. Napoleon took this tradition to extremes, lavishing the most sumptuous gifts on those who supported him and those whose support he wished to garner, making an imperial gift of this magnitude, to a key strategic ally, entirely plausible. The remaining records, though far from complete, illustrate the magnificence and distribution of Napoleon's gifts, not only across Europe but beyond, to destinations such as Algiers, Tunisia and Constantinople - the number of items dispatched from Paris is astonishing. Despite the incomplete nature of the records held at the French National Archive, especially covering the years 1804-1806, it is possible to discover the lavish nature of the gifts sent by Napoleon to the King of Württemberg, following the cessation of hostilities in 1801, which include: a snuff-box (costing 8,000 Fr.) on 24 August 1802, in celebration of the peace between the French Republic and Württemberg; five Gobelins tapestries on 4 May 1806; two snuff-boxes and two rings given at the Congress of Erfurt, 27 September-14 October 1808, (23,012 Fr.); and two Gobelins tapestries, Leonidas and Cleombrotte (13,600 Fr.) and Aria and Petus (12,600 Fr), together with a framed portrait of the Emperor (1.800 Fr.) on 29 December 1809 (A. Maze-Sencier Les fournisseurs de Napoléon Ier et des deux impèratrices..., Paris, 1893).
A LINK WITH THE CHATEAU DE SULLY
The paper label suggests that these vases were once part of the collection at the château de Sully, La Tour-de-Peilz, Switzerland. The château was built in 1882 by Baron René-Pierre de Boucheporn, the grandson of Anne François Louis Bertrand, Baron de Boucheporn (d. 1823), who was Grand Maréchal à la cour du roi de Westphalie, under Jérôme Bonaparte. This raises the possibility that the vases may have passed from the King of Württemberg to his daughter and subsequently from her, perhaps by gift, to the Baron de Boucheporn and by descent to his grandson at the château de Sully.
Small-scale versions of this pattern of vase are known, generally with bodies executed entirely in ormolu: a pair of almost identical design but only 24¾ in. (63 cm.) high are in the collection of Musée Marmottan, Paris (L'Empire au Musée Marmottan, Paris, 1977, p. 67).
This magnificent pair of campana urn brûles-parfum (with lot 101 in this sale) is typical of the oeuvre of the greatest Empire bronzier-ciseleur, Pierre-Philippe Thomire (d. 1843). Thomire was born into a family of ciseleurs and initially worked for the renowned bronziers Pierre Gouthière (d. 1813) and Jean-Louis Prieur (d. c. 1790), ciseleur-doreur du roi, and quickly established a reputation for producing superbly chased ormolu, becoming maître fondeur-ciseleur in 1772. In 1776 he established his own atelier and as the strength of his reputation grew, it brought much valuable work (and capital), which in 1804 enabled him to purchase the business of Martin-Eloi Lignereux, marchand de dorure et meubles, at 41, rue Taitbout, and expand his atelier dramatically, employing as many as 800 workers. He was quick to adapt to the new severely classical design vocabulary of the Empire, and was undoubtedly influenced by the work of the acclaimed court architect-designers Charles Percier and Pierre Fontaine, who published a collection of their designs, Recueil de Décorations Intérieurs, in 1812. Thomire would have worked alongside them at court and is known to have produced work designed by the famous pairing, amongst whose many notable imperial commissions lies the design for the fauteuil du Trône, for the Salle du Trône at the Château de Saint-Cloud in 1804. In 1806 Thomire became the first bronzier to be allowed to exhibit at the Exposition Publique des Produits de l'Industrie, where he was awarded a gold medal. In recognition of his work at court Napoleon bestowed the title of Ciseleur de l'Empereur on Thomire in 1809. One of the most important objects Thomire supplied to Napoleon was the Vase du Marriage de l'Empereur, which was commissioned by Brongniart to commemorate Napoleon's second marriage, to Marie-Louise of Austria (d. 1847) in 1810. The campana form vase was mounted with a frieze designed by Henri-Victor Roguier (d. 1841) depicting the wedding party (J. Niclausse, Thomire, Paris, 1947, pl. 20).
THE DECORATION
This mode of antique decoration was favoured by Napoleon and his court as a means of displaying his power and majesty through symbolism and allegory, as well as of legitimizing the new regime, by comparison with the mighty Roman and Greek empires of the ancient world. The perfect neoclassical design of these vases is derived from antique prototypes, such as the monumental marble 1st Century AD Medici Vase in the collection of the Uffizi, Florence, or the 1st Century BC Borghese vase in the collection of the Louvre, Paris; the latter having been purchased by Napoleon in 1808. Whilst the fashion for neoclassicism had flourished since the reign of Louis XVI, the new neoclassicism promoted by Napoleon was spare and much more archeological in approach, implying a sense of permanence. The eagle and the thunderbolt, both employed prominently here, are symbols of the King of the Roman gods, Jupiter. The temple of Jupiter was the most important in ancient Rome, and was central to the political, as well as the religious life of the great Empire; and Jupiter's eagle was employed as the insignia of the mighty Roman legions. In 1804 Napoleon adopted the eagle, also the ancient symbol of Charlemagne, as the symbol of the new empire and its use here standing on a sphere is intended to show the Napoleonic Empire as a global power. The Bacchic procession below, here interspersed with ancient ram's-mask adorned tripod altars, is derived from the 3-4th century BC panel known as the 'Borghese dancers' in the collection of the Louvre, Paris; and implies the bountiful freedom in store for the supporters of the new regime.
A DIPLOMATIC GIFT?
The political alliance between Emperor Napoleon I and King Frederick I of Württemberg was a complex one. Frederick succeeded to the Duchy of Württemberg on the death of his father in 1797. He was by this time married to his second wife, Princess Charlotte (d. 1828), daughter of George III. In 1800 the Duchy of Württemberg was occupied by the Consulate army and Frederick was forced to temporarily flee to Vienna and Erlangen; this was to be the hostile initiation of his relationship with the future Emperor, however following the peace of 1802 the two would become firm allies. In 1805, Napoleon, by this time elevated to Emperor, recognised Frederick as the newly styled King of Württemberg, in return for the latter's support in the form of a supply of auxiliary troops. Frederick was crowned in January 1806 at Stuttgart shortly before joining Napoleon's Confederation of the Rhine and the fall of the Holy Roman Empire. The new King's loyalty was rewarded with Napoleon's support of Württemberg's annexation of neighbouring territory. Diplomatic relations with Paris were finally cemented with the marriage of his daughter Princess Catharina of Württemberg to Napoleon's younger brother Jérôme Bonaparte in Paris in 1807; an alliance which had the curious side-effect of making George III grandfather-in-law to Napoleon's brother. The couple was installed as King and Queen of Westphalia by Napoleon in 1807, but would only remain until the fall of the Empire in 1813. Napoleon and Württemberg would remain political allies until Württemberg, perhaps in anticipation of the eventual outcome, switched sides during the War of the Sixth Coalition in 1813. A change of allegiance eased by his family ties, not only to the British monarchy but also to the Russian Emperor, Alexander I.
The vehement imperial symbolism, along with the sheer scale and opulence of these vases, certainly supports the tradition that they were a diplomatic gift, as implied by the note which accompanies them. In 1805 Napoleon visited Frederick I at Ludwigsburg Palace, Württemberg, to consolidate their alliance, prior to Frederick being crowned King the following year. The occasion prompted much work on the decorations of the palace, where the two leaders held talks in the 'Mars Room'. Entertainment came in the form of a visit to the theatre where Napoleon saw a production of Don Juan, and apparently the theatre was 'completely done over' for the occasion (K. Merten, Ludwigsburg Palace, Stuttgart, 1992, pp. 42 & 112). The meeting was subsequently recorded in a painting of 1812 by Louis Etienne Watelet (d. 1866), which is now in the collection of the palace of Versailles. Whilst no records have been found to identify the gifts exchanged at this meeting, it is highly likely that significant gifts, such as these vases, would have been made to mark such an important occasion. The giving of diplomatic gifts has always been used to cement alliances and curry favour between the courts of Europe and these gifts were often carefully chosen to display the power and intent of the giver. Napoleon took this tradition to extremes, lavishing the most sumptuous gifts on those who supported him and those whose support he wished to garner, making an imperial gift of this magnitude, to a key strategic ally, entirely plausible. The remaining records, though far from complete, illustrate the magnificence and distribution of Napoleon's gifts, not only across Europe but beyond, to destinations such as Algiers, Tunisia and Constantinople - the number of items dispatched from Paris is astonishing. Despite the incomplete nature of the records held at the French National Archive, especially covering the years 1804-1806, it is possible to discover the lavish nature of the gifts sent by Napoleon to the King of Württemberg, following the cessation of hostilities in 1801, which include: a snuff-box (costing 8,000 Fr.) on 24 August 1802, in celebration of the peace between the French Republic and Württemberg; five Gobelins tapestries on 4 May 1806; two snuff-boxes and two rings given at the Congress of Erfurt, 27 September-14 October 1808, (23,012 Fr.); and two Gobelins tapestries, Leonidas and Cleombrotte (13,600 Fr.) and Aria and Petus (12,600 Fr), together with a framed portrait of the Emperor (1.800 Fr.) on 29 December 1809 (A. Maze-Sencier Les fournisseurs de Napoléon Ier et des deux impèratrices..., Paris, 1893).
A LINK WITH THE CHATEAU DE SULLY
The paper label suggests that these vases were once part of the collection at the château de Sully, La Tour-de-Peilz, Switzerland. The château was built in 1882 by Baron René-Pierre de Boucheporn, the grandson of Anne François Louis Bertrand, Baron de Boucheporn (d. 1823), who was Grand Maréchal à la cour du roi de Westphalie, under Jérôme Bonaparte. This raises the possibility that the vases may have passed from the King of Württemberg to his daughter and subsequently from her, perhaps by gift, to the Baron de Boucheporn and by descent to his grandson at the château de Sully.
Small-scale versions of this pattern of vase are known, generally with bodies executed entirely in ormolu: a pair of almost identical design but only 24¾ in. (63 cm.) high are in the collection of Musée Marmottan, Paris (L'Empire au Musée Marmottan, Paris, 1977, p. 67).