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VERS 1735
细节
MEUBLE À HAUTEUR D'APPUI DU DÉBUT DE L'ÉPOQUE LOUIS XV
VERS 1735
En laque de Chine, placage d'amarante et bois de rose, ornementation de bronze ciselé et doré, le dessus en partie incrusté d'un panneau de laque ceint d'une lingotière à motifs de feuilles, la façade à ressaut central et à angles arrondis ouvrant par une porte présentant trois panneaux à décor de feuillages, oiseaux et papillons ceints d'encadrements centrés de cartouches feuillagés ajourés, le dos parqueté et l'intérieur mouluré, le tablier centré du masque de Diane, sur des pieds appliqués de feuilles d'acanthe terminés en enroulements, estampillé 'R. DUBOIS' en haut du montant arrière gauche ; serrure à rappel de pêne et un pêne fourchu, tringlerie haute et basse
H. 134,5 cm. (53 in.) ; L. 120,5 cm. (47 ½ in.) ; P. 46,5 cm. (18 ¼ in.)
VERS 1735
En laque de Chine, placage d'amarante et bois de rose, ornementation de bronze ciselé et doré, le dessus en partie incrusté d'un panneau de laque ceint d'une lingotière à motifs de feuilles, la façade à ressaut central et à angles arrondis ouvrant par une porte présentant trois panneaux à décor de feuillages, oiseaux et papillons ceints d'encadrements centrés de cartouches feuillagés ajourés, le dos parqueté et l'intérieur mouluré, le tablier centré du masque de Diane, sur des pieds appliqués de feuilles d'acanthe terminés en enroulements, estampillé 'R. DUBOIS' en haut du montant arrière gauche ; serrure à rappel de pêne et un pêne fourchu, tringlerie haute et basse
H. 134,5 cm. (53 in.) ; L. 120,5 cm. (47 ½ in.) ; P. 46,5 cm. (18 ¼ in.)
来源
Collection Édouard Larcade, Paris ;
Sa vente, Galerie Charpentier, Me E. Ader, Paris, 25 mai 1951, lot 98 ;
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, salon carré, acquis de la vente précédente ;
Puis par descendance.
Sa vente, Galerie Charpentier, Me E. Ader, Paris, 25 mai 1951, lot 98 ;
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, salon carré, acquis de la vente précédente ;
Puis par descendance.
出版
Bibliographie comparative :
P. Kjellberg, Le mobilier français du XVIIIe siècle, dictionnaire des ébénistes et des menuisiers, Paris, 1989.
T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999.
A. Pradère, Charles Cressent, sculpteur, ébéniste du Régent, Dijon, 2003.
P. Kjellberg, Le mobilier français du XVIIIe siècle, dictionnaire des ébénistes et des menuisiers, Paris, 1989.
T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999.
A. Pradère, Charles Cressent, sculpteur, ébéniste du Régent, Dijon, 2003.
更多详情
AN EARLY LOUIS XV ORMOLU-MOUNTED CHINESE LACQUER AND AMARANTH MEUBLE À HAUTEUR D'APPUI, CIRCA 1735
The Emergence of Lacquer-Mounted Furniture during the Régence Period
This magnificent meuble d’appui is a fine and rare example of French cabinet-making incorporating panels of lacquer from the Far East during the Régence period. This period was a crucial one in the history of this type of furniture. While Japanese lacquer cabinets had been introduced into European interiors from the 1660s onwards, it was not until around 1715-1720 that cabinet-makers, prompted by the marchands-merciers, employed both the material and its decorative vocabulary to create furniture that was unmistakably European in conception.
Our meuble d’appui is thus entirely composed of lacquer panels set within an amaranth-veneered carcass, even the top, and the joins are elegantly concealed by gilt-bronze borders and strapwork mounts. Among the rare comparable examples known today are the cabinet signed by the marchand-mercier Louis Guignard and dated 1723, sold at Christie’s, New York (18 March 2005, lot 305), and the pair of cabinets sold at Christie’s, London (10 July 2014, lot 29), both featuring vertical lacquer panels very close to those of the present piece. The commode by Jean Desforges, executed circa 1730 and preserved in the Musée Jacquemart-André (Inv. MJAP-M 1489), as well as another commode by the same ébéniste preserved at the Château de Versailles (T.W., op. cit., p. 65, fig. 51), are fitted instead with horizontally arranged panels.
Like the present meuble d’appui, these examples are decorated with Chinese black-ground lacquer panels produced in Canton during the early eighteenth century, characterised by flowering branches scattered with birds and butterflies, the palette enhanced by brilliant touches of red and blue highlighted in gold. As taste and technique evolved rapidly, these Régence models gave way, by the late 1730s, to examples entirely decorated with lacquer and vernis parisien in matching colours, such as the two commodes stamped by Mathieu Criaerd offered in the present sale (lots 6 and 45).
The Undisputed Work of a Leading Régence Ébéniste
During the 1768 sale of the collection of Monsieur Gaignat, former Secretary to the King, lot 180 was described as follows: “Two cabinets five pieds in length and five pieds three pouces in height, veneered in amaranth, each with two doors, decorated with old Chinese lacquer on a black ground [...] the whole enriched with gilt-bronze mouldings and ornaments of fine taste. They are among the last works of a son of the celebrated Boulle.”
Although this attribution to one of André-Charles Boulle’s sons is now difficult to substantiate, it nevertheless indicates that such luxurious pieces were considered the domain of the most accomplished cabinet-makers. Alongside the Boulle dynasty, the name of Charles Cressent, or that of his workshop, may also be suggested. The mask of Diana visible on the present piece is an ornamental motif employed by Cressent. It appears on a pair of convex cabinets preserved in the J. Paul Getty Museum (Inv. 79.DA.2). A commode dating from circa 1725-1735, sold at Christie’s Paris (19 June 2025, lot 31), is likewise ornamented with the same motif.
Furthermore, the strapwork mounts punctuating the framing of the lacquer panels closely relate to the ornamental vocabulary favoured by Cressent. This perfectly symmetrical motif, centred on a cartouche flanked by acanthus leaves forming moustache-like scrolls and an interlaced flat ribbon retaining a foliate scroll, is closely related to designs found on numerous works by Charles Cressent. Finally, the rounded corners of the present meuble d’appui are characteristic of techniques employed by the ébéniste of the Régent. Such curvilinear forms are particularly evident in Cressent’s corner cabinets. The technical tour de force is expressed here in the rounded shape itself, to which the lacquer panels were required to conform.
The Mark of René Dubois: Dealer or Restorer?
Although it remains uncertain in what capacity René Dubois (1737-1799), son of the celebrated ébéniste Jacques Dubois (1693-1763), employed the workshop stamp found on the reverse of the present meuble d’appui, it is nevertheless certain that this remarkable piece passed through his atelier on the rue de Charenton.
Trained by his father Jacques in cabinet-making and in the specialised techniques associated with mounting Oriental lacquer on furniture, Jacques having secured his reputation through his sumptuous lacquer and vernis parisien furniture, it is entirely plausible that René Dubois intervened during the final decades of the eighteenth century to restore this important lacquer-mounted piece.
A second hypothesis to explain his involvement lies in the Dubois family's activities as furniture dealers. It is known that both Jacques and, subsequently, René pursued this secondary occupation. While the exact explanation remains unknown, it is worth noting that this meuble d’appui passed through one of the most important Parisian workshops of the period, as did the pair of console tables from the Dubois atelier in the late 1780s (Christie’s Paris, 20 November 2024, lot 22), further attesting to the exceptional refinement of the present piece.
The Emergence of Lacquer-Mounted Furniture during the Régence Period
This magnificent meuble d’appui is a fine and rare example of French cabinet-making incorporating panels of lacquer from the Far East during the Régence period. This period was a crucial one in the history of this type of furniture. While Japanese lacquer cabinets had been introduced into European interiors from the 1660s onwards, it was not until around 1715-1720 that cabinet-makers, prompted by the marchands-merciers, employed both the material and its decorative vocabulary to create furniture that was unmistakably European in conception.
Our meuble d’appui is thus entirely composed of lacquer panels set within an amaranth-veneered carcass, even the top, and the joins are elegantly concealed by gilt-bronze borders and strapwork mounts. Among the rare comparable examples known today are the cabinet signed by the marchand-mercier Louis Guignard and dated 1723, sold at Christie’s, New York (18 March 2005, lot 305), and the pair of cabinets sold at Christie’s, London (10 July 2014, lot 29), both featuring vertical lacquer panels very close to those of the present piece. The commode by Jean Desforges, executed circa 1730 and preserved in the Musée Jacquemart-André (Inv. MJAP-M 1489), as well as another commode by the same ébéniste preserved at the Château de Versailles (T.W., op. cit., p. 65, fig. 51), are fitted instead with horizontally arranged panels.
Like the present meuble d’appui, these examples are decorated with Chinese black-ground lacquer panels produced in Canton during the early eighteenth century, characterised by flowering branches scattered with birds and butterflies, the palette enhanced by brilliant touches of red and blue highlighted in gold. As taste and technique evolved rapidly, these Régence models gave way, by the late 1730s, to examples entirely decorated with lacquer and vernis parisien in matching colours, such as the two commodes stamped by Mathieu Criaerd offered in the present sale (lots 6 and 45).
The Undisputed Work of a Leading Régence Ébéniste
During the 1768 sale of the collection of Monsieur Gaignat, former Secretary to the King, lot 180 was described as follows: “Two cabinets five pieds in length and five pieds three pouces in height, veneered in amaranth, each with two doors, decorated with old Chinese lacquer on a black ground [...] the whole enriched with gilt-bronze mouldings and ornaments of fine taste. They are among the last works of a son of the celebrated Boulle.”
Although this attribution to one of André-Charles Boulle’s sons is now difficult to substantiate, it nevertheless indicates that such luxurious pieces were considered the domain of the most accomplished cabinet-makers. Alongside the Boulle dynasty, the name of Charles Cressent, or that of his workshop, may also be suggested. The mask of Diana visible on the present piece is an ornamental motif employed by Cressent. It appears on a pair of convex cabinets preserved in the J. Paul Getty Museum (Inv. 79.DA.2). A commode dating from circa 1725-1735, sold at Christie’s Paris (19 June 2025, lot 31), is likewise ornamented with the same motif.
Furthermore, the strapwork mounts punctuating the framing of the lacquer panels closely relate to the ornamental vocabulary favoured by Cressent. This perfectly symmetrical motif, centred on a cartouche flanked by acanthus leaves forming moustache-like scrolls and an interlaced flat ribbon retaining a foliate scroll, is closely related to designs found on numerous works by Charles Cressent. Finally, the rounded corners of the present meuble d’appui are characteristic of techniques employed by the ébéniste of the Régent. Such curvilinear forms are particularly evident in Cressent’s corner cabinets. The technical tour de force is expressed here in the rounded shape itself, to which the lacquer panels were required to conform.
The Mark of René Dubois: Dealer or Restorer?
Although it remains uncertain in what capacity René Dubois (1737-1799), son of the celebrated ébéniste Jacques Dubois (1693-1763), employed the workshop stamp found on the reverse of the present meuble d’appui, it is nevertheless certain that this remarkable piece passed through his atelier on the rue de Charenton.
Trained by his father Jacques in cabinet-making and in the specialised techniques associated with mounting Oriental lacquer on furniture, Jacques having secured his reputation through his sumptuous lacquer and vernis parisien furniture, it is entirely plausible that René Dubois intervened during the final decades of the eighteenth century to restore this important lacquer-mounted piece.
A second hypothesis to explain his involvement lies in the Dubois family's activities as furniture dealers. It is known that both Jacques and, subsequently, René pursued this secondary occupation. While the exact explanation remains unknown, it is worth noting that this meuble d’appui passed through one of the most important Parisian workshops of the period, as did the pair of console tables from the Dubois atelier in the late 1780s (Christie’s Paris, 20 November 2024, lot 22), further attesting to the exceptional refinement of the present piece.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA