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Lot Essay
André-Charles Boulle (1642-1732), ébéniste, ciseleur, doreur et sculpteur du Roi in 1672.
Boulle Fils, last recorded active in 1754.
Beautifully conceived and executed, this magnificent chandelier can confidently be attributed to the Boulle atelier on the basis of its similarity to other documented examples and designs executed by André-Charles Boulle, who was appointed ébéniste du Roi in 1672. His engravings published circa 1720 under the title 'Nouveau desseins...' by Mariette are a valuable source of information and give a clear idea of his production. A number of designs for chandeliers were published, and though many of these were not executed to the letter, various combinations and variations of these designs can be seen amongst Boulle's chandeliers which are known. The closest parallel to this chandelier is the set of four six-light chandeliers in the Audienzzimmer at the Residenz in Ansbach, see H. Ottomeyer and P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 55, fig. 1.6.11, and another sold from the collection of Djahanguir Riahi, Christie’s, London, 6 December 2012, lot 10 (£481,250). Other comparable chandeliers sold at auction are one previously in the collection of the Dukes of Hamilton at Hamilton Palace, Lanarkshire, subsequently the collection of Beckett Denison, sold in 1885, and then from a private European collection, Christie's, Monaco, 5 December 1992, lot 41 (3,552,000 FF); another formerly in the collection of Mrs Barbara Piasecka Johnson and subsequently sold anonymously Sotheby's, London, 5 July 2006, lot 4 (£792,000); and one dated circa 1720, sold Christie's, New York, 23 October 1998, lot 102. Its central vase column within a scrolled, paneled, square-section frame above a hexagonal socle issuing gadrooned, acanthus-cast and paneled S-scroll branches, with waisted vase nozzles and its large berried foliate boss are almost identical to the Ansbach chandeliers. Other elements of this form can be found in related chandeliers by or attributed to Boulle, including the hexagonal socle surmounted by a vase on the central stem on an eight-light chandelier in the castle at Drottningholm and a related chandelier in the Royal Palace, Stockholm, see Ottomeyer and Pröschel, op. cit., p. 53, fig. 1.6.8. The hexagonal socle features on a design by Boulle published by Mariette, for a 'grand lustre a huit branches'; whilst a design by Daniel Marot, from his Nouveau Livre d'Orfèvrie Inventé par Marot Architecte du Roi, published in 1710 but conceptually dating from twenty to thirty years earlier, shows the use of paneled S-scroll arms decorated with husk-trails.
Without specific characteristics, the identification of these chandeliers in 18th century inventories or sale catalogues remains tentative. Many lustres à six branches de cuivre doré are recorded in contemporary documents but more detailed descriptions are rare. The only description which may relate to the present chandelier, also due to the listed dimensions, is one listed in the sale of the marchand Dubois on 20 December 1785:
- No. 234 Un lustre à six branches à riche cul de lampe surmonté par trois consoles en forme de lyre, renfermant un vase et terminant le couronnement. Hauteur 30 pouces; largeur 30 pouces.
Although based on designs created and used during André-Charles’ management of the Boulle workshop, based on the characteristics and quality of the chasing and the way certain elements are cast, it is most likely that this chandelier was produced during the late Régence or early Louis XV periods, when the atelier was under the management of André-Charles’ sons.
ANDRE-CHARLES BOULLE AND BOULLE FILS
Born in Paris in 1642, the son of a maître menuisier en ébène, 'Jean Bolt', Boulle himself achieved his maîtrise at a young age in 1666, although it is interesting to note that he also trained as a painter early in his career. His remarkable talents early in his career as a marqueteur, were soon recognized and when in 1672 the apartments at the Louvre of the royal ébéniste Jean Macé became vacant, none other than Colbert, first minister to Louis XIV, recommended him to the king as “le plus habile de Paris dans son métier,” upon which he was appointed Ebéniste, Ciseleur, Doreur et Sculpteur du Roi. This title reveals how, right from the start of his career (and in direct contravention of guild regulations after the guilds were introduced in 1715), he combined the production of cabinet-work and gilt-bronzes in his workshop, which at one stage included no fewer than six benches for gilding, casting and chasing mounts alone. Although strict guild regulations usually prevented artists from practicing two professions simultaneously, Boulle's favored position allowed him protected status and exempted him from the guild rules. This resulted in a remarkable degree of artistic unity in his oeuvre. It is fascinating to note in this respect that the celebrated Italian baroque sculptor Bernini actually visited Boulle's workshops during a trip to Paris in 1665 and advised him on his designs. Boulle's unique ability, aided no doubt by his early training as a painter, was to synthesize all these influences and his own technical virtuosity and innovative designs into an integrated whole. As early as 1715 Boulle handed over his workshops to his four sons: Jean-Philippe (1678-1744), Pierre-Benoît (c.1683-1741), André-Charles II (1685–1749) and Charles-Joseph (1688–1754). All four sons were granted the very prestigious Royal title ébéniste du roi. Boulle himself died in 1732.
Boulle Fils, last recorded active in 1754.
Beautifully conceived and executed, this magnificent chandelier can confidently be attributed to the Boulle atelier on the basis of its similarity to other documented examples and designs executed by André-Charles Boulle, who was appointed ébéniste du Roi in 1672. His engravings published circa 1720 under the title 'Nouveau desseins...' by Mariette are a valuable source of information and give a clear idea of his production. A number of designs for chandeliers were published, and though many of these were not executed to the letter, various combinations and variations of these designs can be seen amongst Boulle's chandeliers which are known. The closest parallel to this chandelier is the set of four six-light chandeliers in the Audienzzimmer at the Residenz in Ansbach, see H. Ottomeyer and P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 55, fig. 1.6.11, and another sold from the collection of Djahanguir Riahi, Christie’s, London, 6 December 2012, lot 10 (£481,250). Other comparable chandeliers sold at auction are one previously in the collection of the Dukes of Hamilton at Hamilton Palace, Lanarkshire, subsequently the collection of Beckett Denison, sold in 1885, and then from a private European collection, Christie's, Monaco, 5 December 1992, lot 41 (3,552,000 FF); another formerly in the collection of Mrs Barbara Piasecka Johnson and subsequently sold anonymously Sotheby's, London, 5 July 2006, lot 4 (£792,000); and one dated circa 1720, sold Christie's, New York, 23 October 1998, lot 102. Its central vase column within a scrolled, paneled, square-section frame above a hexagonal socle issuing gadrooned, acanthus-cast and paneled S-scroll branches, with waisted vase nozzles and its large berried foliate boss are almost identical to the Ansbach chandeliers. Other elements of this form can be found in related chandeliers by or attributed to Boulle, including the hexagonal socle surmounted by a vase on the central stem on an eight-light chandelier in the castle at Drottningholm and a related chandelier in the Royal Palace, Stockholm, see Ottomeyer and Pröschel, op. cit., p. 53, fig. 1.6.8. The hexagonal socle features on a design by Boulle published by Mariette, for a 'grand lustre a huit branches'; whilst a design by Daniel Marot, from his Nouveau Livre d'Orfèvrie Inventé par Marot Architecte du Roi, published in 1710 but conceptually dating from twenty to thirty years earlier, shows the use of paneled S-scroll arms decorated with husk-trails.
Without specific characteristics, the identification of these chandeliers in 18th century inventories or sale catalogues remains tentative. Many lustres à six branches de cuivre doré are recorded in contemporary documents but more detailed descriptions are rare. The only description which may relate to the present chandelier, also due to the listed dimensions, is one listed in the sale of the marchand Dubois on 20 December 1785:
- No. 234 Un lustre à six branches à riche cul de lampe surmonté par trois consoles en forme de lyre, renfermant un vase et terminant le couronnement. Hauteur 30 pouces; largeur 30 pouces.
Although based on designs created and used during André-Charles’ management of the Boulle workshop, based on the characteristics and quality of the chasing and the way certain elements are cast, it is most likely that this chandelier was produced during the late Régence or early Louis XV periods, when the atelier was under the management of André-Charles’ sons.
ANDRE-CHARLES BOULLE AND BOULLE FILS
Born in Paris in 1642, the son of a maître menuisier en ébène, 'Jean Bolt', Boulle himself achieved his maîtrise at a young age in 1666, although it is interesting to note that he also trained as a painter early in his career. His remarkable talents early in his career as a marqueteur, were soon recognized and when in 1672 the apartments at the Louvre of the royal ébéniste Jean Macé became vacant, none other than Colbert, first minister to Louis XIV, recommended him to the king as “le plus habile de Paris dans son métier,” upon which he was appointed Ebéniste, Ciseleur, Doreur et Sculpteur du Roi. This title reveals how, right from the start of his career (and in direct contravention of guild regulations after the guilds were introduced in 1715), he combined the production of cabinet-work and gilt-bronzes in his workshop, which at one stage included no fewer than six benches for gilding, casting and chasing mounts alone. Although strict guild regulations usually prevented artists from practicing two professions simultaneously, Boulle's favored position allowed him protected status and exempted him from the guild rules. This resulted in a remarkable degree of artistic unity in his oeuvre. It is fascinating to note in this respect that the celebrated Italian baroque sculptor Bernini actually visited Boulle's workshops during a trip to Paris in 1665 and advised him on his designs. Boulle's unique ability, aided no doubt by his early training as a painter, was to synthesize all these influences and his own technical virtuosity and innovative designs into an integrated whole. As early as 1715 Boulle handed over his workshops to his four sons: Jean-Philippe (1678-1744), Pierre-Benoît (c.1683-1741), André-Charles II (1685–1749) and Charles-Joseph (1688–1754). All four sons were granted the very prestigious Royal title ébéniste du roi. Boulle himself died in 1732.