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ESTAMPILLE DE MATHIEU CRIAERD, VERS 1745 - 1749
细节
COMMODE D'ÉPOQUE LOUIS XV
ESTAMPILLE DE MATHIEU CRIAERD, VERS 1745 - 1749
En laque de Chine noire, or, brune et argent, vernis européen et ornementation de bronze ciselé et verni, le plateau de marbre Brèche d'Alep, la façade légèrement bombée ouvrant par deux tiroirs sans traverse, à décor rouge et or d'un palais sur fond noir dans un cartouche asymétrique de rinceaux feuillagés et de chutes de fleurs, l'intérieur des tiroirs peint en rouge, les montants ornés de volutes feuillagées et concrétions rocaille, les côtés à décor de paysages et palais dans un cartouche rocaille centré de rinceaux feuillagés ajourés, reposant sur quatre pieds ornés de sabots, estampillée 'M. CRIAERD' sur le montant avant droit et le montant arrière gauche, les bronzes poinçonnés au 'C' couronné, la serrure à double pêne, fourchu en haut et simple en bas ; soulèvements à la laque
H. 88,5 cm. (34 ¾ in.) ; L. 155,5 cm. (61 ¼ in.) ; P. 67 cm. (26 ½ in.)
Mathieu Criaerd, reçu maître en 1738.
Le 'C' couronné fut apposé entre 1745 et 1749.
ESTAMPILLE DE MATHIEU CRIAERD, VERS 1745 - 1749
En laque de Chine noire, or, brune et argent, vernis européen et ornementation de bronze ciselé et verni, le plateau de marbre Brèche d'Alep, la façade légèrement bombée ouvrant par deux tiroirs sans traverse, à décor rouge et or d'un palais sur fond noir dans un cartouche asymétrique de rinceaux feuillagés et de chutes de fleurs, l'intérieur des tiroirs peint en rouge, les montants ornés de volutes feuillagées et concrétions rocaille, les côtés à décor de paysages et palais dans un cartouche rocaille centré de rinceaux feuillagés ajourés, reposant sur quatre pieds ornés de sabots, estampillée 'M. CRIAERD' sur le montant avant droit et le montant arrière gauche, les bronzes poinçonnés au 'C' couronné, la serrure à double pêne, fourchu en haut et simple en bas ; soulèvements à la laque
H. 88,5 cm. (34 ¾ in.) ; L. 155,5 cm. (61 ¼ in.) ; P. 67 cm. (26 ½ in.)
Mathieu Criaerd, reçu maître en 1738.
Le 'C' couronné fut apposé entre 1745 et 1749.
来源
Collection François Coty, Château du Puy d'Artigny, 1936 ;
Sa vente, Galerie Charpentier, Paris, 30 novembre - 1er décembre 1936, lot 86 ;
Galerie Marcel Bissey, Paris ; acquis par
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, salon carré ;
Puis par descendance.
Sa vente, Galerie Charpentier, Paris, 30 novembre - 1er décembre 1936, lot 86 ;
Galerie Marcel Bissey, Paris ; acquis par
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, salon carré ;
Puis par descendance.
出版
Catalogue de vente, Collection François Coty, Me H. Baudoin et Me E. Ader, Paris, 1936, pp. 116-117, lot 86 (ill.).
J. Nicolay, L'Art et la manière des maîtres ébénistes français au XVIIIe siècle, Paris, 1986, p. 124 (ill.).
J.M. Franc, Dictionnaire des menuisiers, ébénistes, sculpteurs, tourneurs et doreurs du XVIIIe siècle, Dijon, 2000, p. 512 (ill.).
Bibliographie comparative :
T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 2000.
J. Nicolay, L'Art et la manière des maîtres ébénistes français au XVIIIe siècle, Paris, 1986, p. 124 (ill.).
J.M. Franc, Dictionnaire des menuisiers, ébénistes, sculpteurs, tourneurs et doreurs du XVIIIe siècle, Dijon, 2000, p. 512 (ill.).
Bibliographie comparative :
T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 2000.
更多详情
A LOUIS XV ORMOLU-MOUNTED CHINESE LACQUER COMMODE, STAMPED BY MATHIEU CRIAERD, CIRCA 1745-1749
This luxurious commode embodies both the taste for precious Oriental lacquer and the ingenious network of Parisian marchands-merciers active during the mid-eighteenth century.
Stamped by Mathieu Criaerd (1689-1776), an ébéniste celebrated for his use of lacquer and the refinement of his ormolu mounts, this commode belongs to a group of furnishings supplied to the Court and royal circles through the intermediary of marchands-merciers such as Thomas-Joachim Hébert.
The elaborate rocaille mounts on this commode, with pierced cabochons, floral and foliate flourishes, floral pendants and asymmetrical apron mounts relate to the mounts on a number of commodes of comparable form stamped by a small circle of exceptional ébénistes. With almost all of these comparable commodes decorated with exotic wood veneers or floral marquetry, the present example stands out for its use of precious and rare Chinese lacquer. Bearing the stamps of several different masters and displaying identical mounts employed in varying arrangements, these commodes were almost certainly produced for a single marchand-mercier, who was likely responsible for their design. The fact that the present lacquer commode was executed by Mathieu Criaerd, an ébéniste known for his mastery of this material, suggests that these commissions were sub-contracted according to the particular specialities of each craftsman.
Examples from this group include one by Jacques-Philippe Carel currently preserved in the Frick Collection, New York (inv. 15.5.34, illustrated above, fig. 1), which presents the same framing mounts but pierced angle mounts of a different design. A further commode by Carel bearing the same angle mounts, as well as the same pierced rocaille mount to the sides, placed in the frame rather than on the centre of the side, as the present commode was formerly in the collection of Baron Alphonse de Rothschild (1827-1905) and was subsequently offered in The Wildenstein Collection, Christie’s London, 14-15 December 2005, lot 360.
Although this corpus contains nearly 100 commodes, examples in lacquer remain exceptionally rare with only four known, including the present commode. A related lacquer example by Pierre Roussel with different angle mounts but identical mounts to the front and sides, was sold from the collection of Jaime Ortiz-Patiño, Sotheby’s New York, 22 May 2001, lot 319. Another example in lacquer, less lavishly mounted and also stamped by Roussel, was sold at Sotheby’s Paris, 27 April 2017, lot 121 (fig. 2).
François Coty (1874-1934)
This commode was in the collection of the parfumeur and businessman François Coty (1874-1934). Monsieur Coty revolutionised the world of perfume, creating an international manufacturing network and partnering with René Lalique to create the first designer perfume bottle. Considered the founding father of the modern perfume industry, Coty was one of the wealthiest men in France and became an important patron of the arts. Coty amassed a magnificent collection of decorative and fine arts including celebrated pictures by François Boucher, Jean-Honoré Fragonard and Joshua Reynolds and important French furniture by renowned cabinet makers such as Weisweiler, Roentgen, Cressent as well as royal Gobelins tapestries. Between the years 1912 and 1928 Coty built the Château du Puy d'Artigny in the most lavish neoclassical style and, to cement his status as an important collector of art, he acquired Madame du Barry’s château de Louveciennes, where he died in 1934. From 30 November to 1 December 1936 a number of pieces from Coty’s collection, including this commode, the pair of wine coolers (lot 7) and the painting by Antoine Watteau (lot 26) were sold at Galerie Charpentier in Paris.
This luxurious commode embodies both the taste for precious Oriental lacquer and the ingenious network of Parisian marchands-merciers active during the mid-eighteenth century.
Stamped by Mathieu Criaerd (1689-1776), an ébéniste celebrated for his use of lacquer and the refinement of his ormolu mounts, this commode belongs to a group of furnishings supplied to the Court and royal circles through the intermediary of marchands-merciers such as Thomas-Joachim Hébert.
The elaborate rocaille mounts on this commode, with pierced cabochons, floral and foliate flourishes, floral pendants and asymmetrical apron mounts relate to the mounts on a number of commodes of comparable form stamped by a small circle of exceptional ébénistes. With almost all of these comparable commodes decorated with exotic wood veneers or floral marquetry, the present example stands out for its use of precious and rare Chinese lacquer. Bearing the stamps of several different masters and displaying identical mounts employed in varying arrangements, these commodes were almost certainly produced for a single marchand-mercier, who was likely responsible for their design. The fact that the present lacquer commode was executed by Mathieu Criaerd, an ébéniste known for his mastery of this material, suggests that these commissions were sub-contracted according to the particular specialities of each craftsman.
Examples from this group include one by Jacques-Philippe Carel currently preserved in the Frick Collection, New York (inv. 15.5.34, illustrated above, fig. 1), which presents the same framing mounts but pierced angle mounts of a different design. A further commode by Carel bearing the same angle mounts, as well as the same pierced rocaille mount to the sides, placed in the frame rather than on the centre of the side, as the present commode was formerly in the collection of Baron Alphonse de Rothschild (1827-1905) and was subsequently offered in The Wildenstein Collection, Christie’s London, 14-15 December 2005, lot 360.
Although this corpus contains nearly 100 commodes, examples in lacquer remain exceptionally rare with only four known, including the present commode. A related lacquer example by Pierre Roussel with different angle mounts but identical mounts to the front and sides, was sold from the collection of Jaime Ortiz-Patiño, Sotheby’s New York, 22 May 2001, lot 319. Another example in lacquer, less lavishly mounted and also stamped by Roussel, was sold at Sotheby’s Paris, 27 April 2017, lot 121 (fig. 2).
François Coty (1874-1934)
This commode was in the collection of the parfumeur and businessman François Coty (1874-1934). Monsieur Coty revolutionised the world of perfume, creating an international manufacturing network and partnering with René Lalique to create the first designer perfume bottle. Considered the founding father of the modern perfume industry, Coty was one of the wealthiest men in France and became an important patron of the arts. Coty amassed a magnificent collection of decorative and fine arts including celebrated pictures by François Boucher, Jean-Honoré Fragonard and Joshua Reynolds and important French furniture by renowned cabinet makers such as Weisweiler, Roentgen, Cressent as well as royal Gobelins tapestries. Between the years 1912 and 1928 Coty built the Château du Puy d'Artigny in the most lavish neoclassical style and, to cement his status as an important collector of art, he acquired Madame du Barry’s château de Louveciennes, where he died in 1934. From 30 November to 1 December 1936 a number of pieces from Coty’s collection, including this commode, the pair of wine coolers (lot 7) and the painting by Antoine Watteau (lot 26) were sold at Galerie Charpentier in Paris.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA