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VERS 1715
细节
PAIRE DE SEAUX À BOUTEILLE D'ÉPOQUE RÉGENCE
VERS 1715
En bronze ciselé et doré, de forme octogonale, la partie haute à décor d'une frise de godrons, le corps à motifs de treillages et fleurons dans des réserves entre une frise de lambrequins et une frise de postes, la base à décor d'une frise de rais-de-cœur, l'intérieur à doublure en cuivre doré munie de deux anses
H. 19,5 cm. (7 ¾ in.) ; L. 20,5 cm. (8 in.)
VERS 1715
En bronze ciselé et doré, de forme octogonale, la partie haute à décor d'une frise de godrons, le corps à motifs de treillages et fleurons dans des réserves entre une frise de lambrequins et une frise de postes, la base à décor d'une frise de rais-de-cœur, l'intérieur à doublure en cuivre doré munie de deux anses
H. 19,5 cm. (7 ¾ in.) ; L. 20,5 cm. (8 in.)
来源
Collection François Coty, Château du Puy d'Artigny ;
Sa vente, Galerie Charpentier, Paris, 1er décembre 1936, lot 71 ;
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, l'un dans le salon carré, l'autre dans le fumoir ;
Puis par descendance.
Sa vente, Galerie Charpentier, Paris, 1er décembre 1936, lot 71 ;
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, l'un dans le salon carré, l'autre dans le fumoir ;
Puis par descendance.
出版
Catalogue de vente, Collection François Coty, Me H. Baudoin et Me E. Ader, Paris, 1936, pp. 98-99, lot 71 (ill.).
M. Bimbenet-Privat, F. Doux, C. Gougeon, P. Palasi et al., Orfèvrerie de la Renaissance et des temps modernes, XVIe, XVIIe et XVIIIe siècles : la collection du Musée du Louvre, Paris, 2022, p. 253.
C. Huchet de Quénetain, Nicolas Besnier, 1686-1754 : architecte, orfèvre du roi et échevin de la ville de Paris, Paris, 2024, p. 272.
Bibliographie comparative :
J. Helft et al., Les Grands Orfèvres de Louis XIII à Charles X, Paris, 1965, p. 85.
M. Bimbenet-Privat, F. Doux, C. Gougeon, P. Palasi et al., Orfèvrerie de la Renaissance et des temps modernes, XVIe, XVIIe et XVIIIe siècles : la collection du Musée du Louvre, Paris, 2022, pp. 252-253.
C. Huchet de Quénetain, Nicolas Besnier, 1686-1754 : architecte, orfèvre du roi et échevin de la ville de Paris, Paris, 2024, pp. 251-254, 271-272.
M. Bimbenet-Privat, F. Doux, C. Gougeon, P. Palasi et al., Orfèvrerie de la Renaissance et des temps modernes, XVIe, XVIIe et XVIIIe siècles : la collection du Musée du Louvre, Paris, 2022, p. 253.
C. Huchet de Quénetain, Nicolas Besnier, 1686-1754 : architecte, orfèvre du roi et échevin de la ville de Paris, Paris, 2024, p. 272.
Bibliographie comparative :
J. Helft et al., Les Grands Orfèvres de Louis XIII à Charles X, Paris, 1965, p. 85.
M. Bimbenet-Privat, F. Doux, C. Gougeon, P. Palasi et al., Orfèvrerie de la Renaissance et des temps modernes, XVIe, XVIIe et XVIIIe siècles : la collection du Musée du Louvre, Paris, 2022, pp. 252-253.
C. Huchet de Quénetain, Nicolas Besnier, 1686-1754 : architecte, orfèvre du roi et échevin de la ville de Paris, Paris, 2024, pp. 251-254, 271-272.
更多详情
A PAIR OF REGENCE GILT-BRONZE WINE COOLERS, CIRCA 1715
This pair of faceted ormolu wine coolers displays a decorative scheme directly derived from the vocabulary of early eighteenth-century French silver. The neck is enriched with a broad lambrequin frieze, while each side is articulated by a panel of trelliswork and rosettes framed by two roses in the spandrels, above a border. An identical pair (with handles), datable to circa 1700–1715, is today preserved in the Musée du Louvre (inv. OA 9688) (fig. 2).
A Model Borrowed from French Silverwork
The present pair of ormolu wine coolers was almost certainly produced after a comparable silver model. It may be compared to a pair of silver wine coolers, also formerly in the collection of Doña Graziella Patiño de Ortiz Linares, engraved with the Royal Arms of England and bearing French hallmarks (sold at Sotheby’s New York, 21 May 1992, lot 114). Attributed to Nicolas Besnier (1686-1754), it represents one of the very few French silver examples to have survived the widespread meltings of the eighteenth century.
This silver pair almost certainly formed part of the plate owned by the English ambassador Horatio Walpole (1678–1757), who served at the French court between 1723 and 1730. Following the promulgation of sumptuary regulations and the growing scarcity of silver, both patrons and craftsmen increasingly turned to gilt-bronze while continuing to draw upon established silverwork models. Although the decoration of the present pair may derive from works by Nicolas Besnier, the original design should more properly be credited to his master, Nicolas Delaunay (circa 1646–1727).
The ormolu example in the Louvre and the silver pair formerly in the Patiño de Ortiz Linares collection both passed through the hands of the renowned dealer and silver specialist Jacques Helft (1891-1980) during the twentieth century. Given Helft’s well-documented relationship with the Ortiz-Patiño family, it is highly likely that the present ormolu pair was likewise handled by him.
The Success of the Model among Huguenot Silversmiths in England
This faceted wine cooler model enjoyed considerable success in England. It was introduced by French Huguenot silversmiths who emigrated following the Revocation of the Edict of Nantes. London subsequently became a major centre for French-inspired silver, commonly referred to as Huguenot silver.
Several comparable silver wine coolers bearing English hallmarks are preserved in American museum collections. One is housed in the Philadelphia Museum of Art (inv. 1959-151-8), while another pair is in the Metropolitan Museum of Art, New York (inv. 68.141.128–129) (fig. 1). The Philadelphia example, dating to circa 1720, bears the mark of David Willaume (active in London, 1658–1741), while the New York pair, dated 1716–1717, bears the mark of William Lukin (active 1699–1755). These English examples illustrate the international influence of Parisian silver designs in the early eighteenth century.
We are grateful to Dr. Christophe Huchet de Quénetain for his contribution to the preparation of this catalogue entry.
This pair of faceted ormolu wine coolers displays a decorative scheme directly derived from the vocabulary of early eighteenth-century French silver. The neck is enriched with a broad lambrequin frieze, while each side is articulated by a panel of trelliswork and rosettes framed by two roses in the spandrels, above a border. An identical pair (with handles), datable to circa 1700–1715, is today preserved in the Musée du Louvre (inv. OA 9688) (fig. 2).
A Model Borrowed from French Silverwork
The present pair of ormolu wine coolers was almost certainly produced after a comparable silver model. It may be compared to a pair of silver wine coolers, also formerly in the collection of Doña Graziella Patiño de Ortiz Linares, engraved with the Royal Arms of England and bearing French hallmarks (sold at Sotheby’s New York, 21 May 1992, lot 114). Attributed to Nicolas Besnier (1686-1754), it represents one of the very few French silver examples to have survived the widespread meltings of the eighteenth century.
This silver pair almost certainly formed part of the plate owned by the English ambassador Horatio Walpole (1678–1757), who served at the French court between 1723 and 1730. Following the promulgation of sumptuary regulations and the growing scarcity of silver, both patrons and craftsmen increasingly turned to gilt-bronze while continuing to draw upon established silverwork models. Although the decoration of the present pair may derive from works by Nicolas Besnier, the original design should more properly be credited to his master, Nicolas Delaunay (circa 1646–1727).
The ormolu example in the Louvre and the silver pair formerly in the Patiño de Ortiz Linares collection both passed through the hands of the renowned dealer and silver specialist Jacques Helft (1891-1980) during the twentieth century. Given Helft’s well-documented relationship with the Ortiz-Patiño family, it is highly likely that the present ormolu pair was likewise handled by him.
The Success of the Model among Huguenot Silversmiths in England
This faceted wine cooler model enjoyed considerable success in England. It was introduced by French Huguenot silversmiths who emigrated following the Revocation of the Edict of Nantes. London subsequently became a major centre for French-inspired silver, commonly referred to as Huguenot silver.
Several comparable silver wine coolers bearing English hallmarks are preserved in American museum collections. One is housed in the Philadelphia Museum of Art (inv. 1959-151-8), while another pair is in the Metropolitan Museum of Art, New York (inv. 68.141.128–129) (fig. 1). The Philadelphia example, dating to circa 1720, bears the mark of David Willaume (active in London, 1658–1741), while the New York pair, dated 1716–1717, bears the mark of William Lukin (active 1699–1755). These English examples illustrate the international influence of Parisian silver designs in the early eighteenth century.
We are grateful to Dr. Christophe Huchet de Quénetain for his contribution to the preparation of this catalogue entry.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA