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拍品专文
These elegant and refined consoles were almost certainly supplied by the celebrated marchand-mercier Dominique Daguerre to the fabulously wealthy banker Jean-Joseph de Laborde for his Parisian hôtel on the rue d’Artois, and are rare examples of items of furniture which were originally designed to be integrated into the architectural paneling of the room.
JEAN-JOSEPH DE LABORDE AND HIS HOTEL ON THE RUE D’ARTOIS
Born in Spain where his father was established, Laborde rapidly rose to success in the sphere of banking and soon after being summoned to the court by Louis XV in 1757 he negotiated a loan of 30 million livres from Spain. He was made banquier de la Cour in 1759 by the duc de Choiseul and in 1760 married Rosalie-Claire-Josèphe Nettine, whose immensely wealthy family were bankers to the courts of Vienna and Brussels, and whose sisters married the influential bankers Micault d’Harvelay, garde du Trésor Royal, (see lot 81 in this sale), and the celebrated amateur and patron of Neolassicism Ange-Laurent de La Live de Jully. He rose to the pinnacle of society, entertaining Louis XV and the Emperor Joseph II at his country residence, the château de la Ferté-Vidame, and in his Parisian hôtel on rue de la Grange-Batelière he entertained luminaries such as Horace Walpole, who was moved to write ‘Hier, j'ai dîné chez Laborde, le grand banquier de la Cour. Mon Dieu! Madame, combien toutes nos maisons de Londres paraissent petites et misérables auprès de celle-là.’
In 1770, he embarked on a tremendous real estate venture, developing a plot of land on the site of the rue d’Artois (later the rue Cerutti and now the rue Laffitte) and the rue de Provence, building several hôtels designed by the Neolassical architect Jean Benoît Vincent Barré. He sold the château de la Ferté-Vidame to the duc de Penthièvre in 1784 and soon after acquired the château de Méréville, which he refurbished in the latest Neoclassical style, working again with Barré and also with François-Joseph Bélanger, architect and designer to the duc d’Aumont and the duchesse de Mazarin, while the painter Hubert Robert provided designs for the gardens.
On his rue d’Artois development, he reserved three hôtels for himself, the principal one for his residence being at the corner of the rue d’Artois and the rue de Provence. Although records of the interiors are relatively scant, it must have been luxuriously appointed as it cost the enormous sum of 550,000 livres and the miroitier Hillou alone charged 39,600 livres for his work there. A plan of the ground floor of Laborde’s hôtel gives a hint of its magnificence. One could enter the house from both the rue d’Artois and the rue de Provence, leading into a courtyard with the main body of the house facing the entrance, between the courtyard and the garden and forming two wings. The entrance on the rue de Provence, flanked by double columns and pilasters, lead into a vestibule with stairs leading to three rooms on the courtyard and garden sides. The central room on the garden side was probably the principal salon of the residence. It was constructed with a series of pilasters to the walls, and the four consoles were placed against these, the cut-outs of their frames and marble tops allowing them to wrap around the pilasters and perfectly harmonize with the architecture of the room. One pair was likely placed around the door leading to the central room of the courtyard side, and the other pair placed on the garden wall.
LATER HISTORY
Laborde later fell victim to the Revolution and was guillotined in 1794, after which his goods were seized. In 1796 a partial restitution of his goods was made to his widow Rosalie-Claire-Josèphe de Nettine (1737-1821). In an inventory drawn up on 10 October 1796, the four consoles were precisely described under no. 23⁄137:
‘Quatre tables en console de 36 po de large [97 cm], 15 po de profondeur [40,5 cm], 34 po de haut [92 cm], en bois d'acajou avec colonnes sur les côtés, cannelures en cuivre poncé, deux tablettes entre les pieds, les carderons, moulures, embases et brettés en bronze doré d'or moulu. Le dessus et les tablettes en marbre blanc. ‘
Despite this ruling in her favour, Madame Laborde, although by now living with her children in the townhouses built by her late husband on the rue Cerutti (formerly the rue d’Artois), continued to battle to claim her inheritance and in 1800, had an inventory drawn up of Laborde’s goods. In 5 rue Cerutti, by now being used as storage for the collection, was listed ‘un secrétaire en bois d'acajou orné de pilastres en cuivre doré et quatre consoles de même bois et mêmes ornements, 900 francs’. This very likely describes the same four consoles with their ‘pilastres’ by Carlin.
THE MODEL
After 1800, all trace is lost of these remarkable consoles dessertes, until three, including the pair offered here, were sold in Paris in 1979. One from the four, also stamped by Carlin, was in the collection of Baron Alphonse de Rothschild and later sold from the château de Ferrières; Sotheby’s, Monaco, 3 December 1994, lot 96. A fourth console of the same model, but of larger size and stamped by Adam Weisweiler, Carlin's German-born confrère, was previously in the Seligmann and Meyer collections (illustrated P. Lemonnier, Weisweiler, Paris, 1983, p. 183, cat. 121). Although the present examples are stamped by Martin Carlin, one of the most accomplished cabinet-makers of his era, the model for these distinctive consoles, with their finely fluted column uprights and toupie feet, most likely originates with Weisweiler. The parallel uses of the model are probably explained by the close relationships between both of these cabinet-makers and the celebrated marchand-mercier Dominique Daguerre, who was Laborde's main supplier of furniture.
JEAN-JOSEPH DE LABORDE AND HIS HOTEL ON THE RUE D’ARTOIS
Born in Spain where his father was established, Laborde rapidly rose to success in the sphere of banking and soon after being summoned to the court by Louis XV in 1757 he negotiated a loan of 30 million livres from Spain. He was made banquier de la Cour in 1759 by the duc de Choiseul and in 1760 married Rosalie-Claire-Josèphe Nettine, whose immensely wealthy family were bankers to the courts of Vienna and Brussels, and whose sisters married the influential bankers Micault d’Harvelay, garde du Trésor Royal, (see lot 81 in this sale), and the celebrated amateur and patron of Neolassicism Ange-Laurent de La Live de Jully. He rose to the pinnacle of society, entertaining Louis XV and the Emperor Joseph II at his country residence, the château de la Ferté-Vidame, and in his Parisian hôtel on rue de la Grange-Batelière he entertained luminaries such as Horace Walpole, who was moved to write ‘Hier, j'ai dîné chez Laborde, le grand banquier de la Cour. Mon Dieu! Madame, combien toutes nos maisons de Londres paraissent petites et misérables auprès de celle-là.’
In 1770, he embarked on a tremendous real estate venture, developing a plot of land on the site of the rue d’Artois (later the rue Cerutti and now the rue Laffitte) and the rue de Provence, building several hôtels designed by the Neolassical architect Jean Benoît Vincent Barré. He sold the château de la Ferté-Vidame to the duc de Penthièvre in 1784 and soon after acquired the château de Méréville, which he refurbished in the latest Neoclassical style, working again with Barré and also with François-Joseph Bélanger, architect and designer to the duc d’Aumont and the duchesse de Mazarin, while the painter Hubert Robert provided designs for the gardens.
On his rue d’Artois development, he reserved three hôtels for himself, the principal one for his residence being at the corner of the rue d’Artois and the rue de Provence. Although records of the interiors are relatively scant, it must have been luxuriously appointed as it cost the enormous sum of 550,000 livres and the miroitier Hillou alone charged 39,600 livres for his work there. A plan of the ground floor of Laborde’s hôtel gives a hint of its magnificence. One could enter the house from both the rue d’Artois and the rue de Provence, leading into a courtyard with the main body of the house facing the entrance, between the courtyard and the garden and forming two wings. The entrance on the rue de Provence, flanked by double columns and pilasters, lead into a vestibule with stairs leading to three rooms on the courtyard and garden sides. The central room on the garden side was probably the principal salon of the residence. It was constructed with a series of pilasters to the walls, and the four consoles were placed against these, the cut-outs of their frames and marble tops allowing them to wrap around the pilasters and perfectly harmonize with the architecture of the room. One pair was likely placed around the door leading to the central room of the courtyard side, and the other pair placed on the garden wall.
LATER HISTORY
Laborde later fell victim to the Revolution and was guillotined in 1794, after which his goods were seized. In 1796 a partial restitution of his goods was made to his widow Rosalie-Claire-Josèphe de Nettine (1737-1821). In an inventory drawn up on 10 October 1796, the four consoles were precisely described under no. 23⁄137:
‘Quatre tables en console de 36 po de large [97 cm], 15 po de profondeur [40,5 cm], 34 po de haut [92 cm], en bois d'acajou avec colonnes sur les côtés, cannelures en cuivre poncé, deux tablettes entre les pieds, les carderons, moulures, embases et brettés en bronze doré d'or moulu. Le dessus et les tablettes en marbre blanc. ‘
Despite this ruling in her favour, Madame Laborde, although by now living with her children in the townhouses built by her late husband on the rue Cerutti (formerly the rue d’Artois), continued to battle to claim her inheritance and in 1800, had an inventory drawn up of Laborde’s goods. In 5 rue Cerutti, by now being used as storage for the collection, was listed ‘un secrétaire en bois d'acajou orné de pilastres en cuivre doré et quatre consoles de même bois et mêmes ornements, 900 francs’. This very likely describes the same four consoles with their ‘pilastres’ by Carlin.
THE MODEL
After 1800, all trace is lost of these remarkable consoles dessertes, until three, including the pair offered here, were sold in Paris in 1979. One from the four, also stamped by Carlin, was in the collection of Baron Alphonse de Rothschild and later sold from the château de Ferrières; Sotheby’s, Monaco, 3 December 1994, lot 96. A fourth console of the same model, but of larger size and stamped by Adam Weisweiler, Carlin's German-born confrère, was previously in the Seligmann and Meyer collections (illustrated P. Lemonnier, Weisweiler, Paris, 1983, p. 183, cat. 121). Although the present examples are stamped by Martin Carlin, one of the most accomplished cabinet-makers of his era, the model for these distinctive consoles, with their finely fluted column uprights and toupie feet, most likely originates with Weisweiler. The parallel uses of the model are probably explained by the close relationships between both of these cabinet-makers and the celebrated marchand-mercier Dominique Daguerre, who was Laborde's main supplier of furniture.