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CHEF-D'ŒUVRE DU MAÎTRE DU STYLE RÉGENCE
RARE AIGUIÈRE ET SON BASSIN EN VERMEIL D'ÉPOQUE LOUIS XIV
PAR NICOLAS DELAUNAY, PARIS, 1704
细节
RARE AIGUIÈRE ET SON BASSIN EN VERMEIL D'ÉPOQUE LOUIS XIV
PAR NICOLAS DELAUNAY, PARIS, 1704
L'aiguière en forme d'urne balustre sur un piédouche circulaire bordé de godrons et feuilles d'acanthe, le corps ciselé sur la panse de lambrequins en relief sur fond amati sous une ceinture unie et au centre de médaillons figurant un profil du Christ et un profil de la Vierge dans des cartouches de treillage flanqués d'une large palmette, appliquée sur l'épaulement d'une frise de feuilles de chêne enrubannée sous une guirlande de coquilles et feuilles d'acanthe, le col rétréci et le bec verseur repoussés de canaux torses, le bec ciselé d'une coquille, l'anse en forme de panthère dressée sur un mascaron ; le bassin ovale bordé d'entrelacs centrés d'une rosette et ciselé d'une frise de postes, gravés postérieurement sur l'aiguière et le bassin d'armoiries d'évêque, poinçons sur le fond de l'aiguière: charge, lettre-date (L) et maître-orfèvre; sur le fond du bassin: charge et maître-orfèvre; sur les bords: décharge
H. de l'aiguière: 32.5 cm. (12 ¾ in.); L. du bassin: 36.5 cm. (14 3⁄8 in.)
4,073 gr. (130 oz.19 dwt.)
Les armoiries gravées sur cette aiguière et ce bassin sont celles de Jérôme Marie Champion de Cicé (1735- 1810).
Jérôme Champion de Cicé (1735–1810) est un homme d'Église et homme politique français, considéré comme l'un des principaux artisans de la Déclaration des droits de l'homme et du citoyen de 1789 (fig. 2). Formé au collège du Plessis puis docteur en théologie de la Sorbonne, il entame une brillante carrière ecclésiastique. Après avoir été vicaire général d'Auxerre et agent général du clergé de France (1765–1770), il est nommé évêque de Rodez en 1770, puis archevêque de Bordeaux en 1781.
Député du clergé aux États généraux de 1789, il joue un rôle déterminant dans la rédaction de la Déclaration des droits de l'homme, dont le projet sert de base au texte adopté le 26 août 1789. Nommé garde des sceaux par Louis XVI, il démissionne en 1790 en raison de son opposition à la Constitution civile du clergé. Contraint à l'exil pendant la Révolution, il rentre en France après le Concordat de 1801 et devient archevêque d'Aix-en-Provence en 1802. Officier de la Légion d'honneur et comte d'Empire, il meurt à Aix-en-Provence en 1810, laissant l'image d'un prélat éclairé attaché aux idéaux de réforme et aux libertés publiques.
PAR NICOLAS DELAUNAY, PARIS, 1704
L'aiguière en forme d'urne balustre sur un piédouche circulaire bordé de godrons et feuilles d'acanthe, le corps ciselé sur la panse de lambrequins en relief sur fond amati sous une ceinture unie et au centre de médaillons figurant un profil du Christ et un profil de la Vierge dans des cartouches de treillage flanqués d'une large palmette, appliquée sur l'épaulement d'une frise de feuilles de chêne enrubannée sous une guirlande de coquilles et feuilles d'acanthe, le col rétréci et le bec verseur repoussés de canaux torses, le bec ciselé d'une coquille, l'anse en forme de panthère dressée sur un mascaron ; le bassin ovale bordé d'entrelacs centrés d'une rosette et ciselé d'une frise de postes, gravés postérieurement sur l'aiguière et le bassin d'armoiries d'évêque, poinçons sur le fond de l'aiguière: charge, lettre-date (L) et maître-orfèvre; sur le fond du bassin: charge et maître-orfèvre; sur les bords: décharge
H. de l'aiguière: 32.5 cm. (12 ¾ in.); L. du bassin: 36.5 cm. (14 3⁄8 in.)
4,073 gr. (130 oz.19 dwt.)
Les armoiries gravées sur cette aiguière et ce bassin sont celles de Jérôme Marie Champion de Cicé (1735- 1810).
Jérôme Champion de Cicé (1735–1810) est un homme d'Église et homme politique français, considéré comme l'un des principaux artisans de la Déclaration des droits de l'homme et du citoyen de 1789 (fig. 2). Formé au collège du Plessis puis docteur en théologie de la Sorbonne, il entame une brillante carrière ecclésiastique. Après avoir été vicaire général d'Auxerre et agent général du clergé de France (1765–1770), il est nommé évêque de Rodez en 1770, puis archevêque de Bordeaux en 1781.
Député du clergé aux États généraux de 1789, il joue un rôle déterminant dans la rédaction de la Déclaration des droits de l'homme, dont le projet sert de base au texte adopté le 26 août 1789. Nommé garde des sceaux par Louis XVI, il démissionne en 1790 en raison de son opposition à la Constitution civile du clergé. Contraint à l'exil pendant la Révolution, il rentre en France après le Concordat de 1801 et devient archevêque d'Aix-en-Provence en 1802. Officier de la Légion d'honneur et comte d'Empire, il meurt à Aix-en-Provence en 1810, laissant l'image d'un prélat éclairé attaché aux idéaux de réforme et aux libertés publiques.
来源
L'archevêque Jérôme-Marie Champion de Cicé (1735- 1810).
Richard Peñard y Fernandez (1882-1960), né à Buenos Aires, 21 rue Cognacq Jay, Paris.
Collection Richard Peñard y Fernandez (1882-1960), Paris ; vente Paris, Palais Galliéra, 7 décembre 1960, n° 43, ill. pl. XXXII.
Acquis au cours de celle-ci par Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
Richard Peñard y Fernandez (1882-1960), né à Buenos Aires, 21 rue Cognacq Jay, Paris.
Collection Richard Peñard y Fernandez (1882-1960), Paris ; vente Paris, Palais Galliéra, 7 décembre 1960, n° 43, ill. pl. XXXII.
Acquis au cours de celle-ci par Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
出版
F. Stéphane, 'Le XVIIe siècle français', Connaissance des Arts, Paris, 1958, p. 103, fig. 8.
Cat. exp. Paris, Musée des Arts Décoratifs, Les Trésors des églises de France, Paris, 1965, no 347.
Y. Bottineau, O. Lefuel, les Grands Orfèvres de Louis XIII à Charles X, Paris, 1965, p. 64-65 et 78-95.
M. Bimbenet-Privat, Les orfèvres et l'orfèvrerie de Paris au XVIIe siècle, Paris, 1990.
L. Jouvet, 'Itinéraire d'un graveur à la fin du règne de Louis XIV. Charles Pinon, élève de François Chéron et commis de Nicolas de Launay', Revue Numismatique, Paris, 2015, no. 172, pp. 177-192.
Cat. exp. Paris, Musée des Arts Décoratifs, Les Trésors des églises de France, Paris, 1965, no 347.
Y. Bottineau, O. Lefuel, les Grands Orfèvres de Louis XIII à Charles X, Paris, 1965, p. 64-65 et 78-95.
M. Bimbenet-Privat, Les orfèvres et l'orfèvrerie de Paris au XVIIe siècle, Paris, 1990.
L. Jouvet, 'Itinéraire d'un graveur à la fin du règne de Louis XIV. Charles Pinon, élève de François Chéron et commis de Nicolas de Launay', Revue Numismatique, Paris, 2015, no. 172, pp. 177-192.
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A RARE LOUIS XIV SILVER-GILT EWER AND ITS BASIN MARK OF NICOLAS DELAUNAY, PARIS, 1704
The baluster-shaped ewer on spreading foot chased with gadrooned border and acanthus leaves, the body chased on lower part with lambrequins on matted ground with plain rib above, applied on upper part with two medallions figuring Christ and the Virgin in profile on trelliswork and flanked by two large palms, applied on the shoulder with a ribbon-tied oak leaves garland beneath a frieze of shells and leaves, the spout chased with swirling flutes and a shell, the handle shaped as a raised panther on a mascaron ; the oval basin chased on rim with entrelacs and rosettes and a band of waves, later engraved on ewer and basin with a coat-of-arms, marked underneath the ewer, on rim of basin and on borders
The Father of the Régence style
Few silver objects by Nicolas Delaunay have survived, even though his designs inspired generations of goldsmiths and he remains one of the greatest silversmiths of the transitional period between the reign of Louis XIV and the Régence under Philippe II, Duke of Orléans (1715-1723).
Alongside his master Claude Ballin (1615–1678), Nicolas Delaunay made Louis XIV’s silver furniture and gold tableware. The grandson and son of a goldsmith and mint master under Louis XIII, he trained in Ballin's workshop whose niece Madeleine he married in 1676. According to the marriage contract, Delaunay agreed to live and work with Ballin for two years in exchange for a gift of 11,000 livres. At the end of this period, he was to receive a further “reward” of 1,000 livres and become an “associate.”
Beyond this financial arrangement, however, Delaunay became above all the heir to Ballin’s artistic heritage, as well as part of his workshop assets upon the master’s death in 1678, which included “casts, plaster models, drawings, engravings, and books” (Arch. Nat., Minutier central, XCVII, 47). Delaunay subsequently became goldsmith to Louis XIV and took over Ballin’s unfinished projects. Until 1687, he worked intensively to supply Versailles with silverware.
His closeness to the royal court enabled him, in November 1696, to become Director of the Balanciers (coin press) at the Louvre Palace, responsible for the production of gold and silver medals and tokens, as well as bronze and copper coins. These functions, combined with his heritage as the son of a mint master, certainly explain his taste for the medallion motif inspired by ancient coins, which can be admired chased on the body of the ewer. Delaunay introduced this decorative motif as early as 1678 in his designs for the cadenas (nef) of Queen Marie-Thérèse of Austria and the Countess Oxenstierna's dressing service.
This ornament, whose invention may be attributed to Nicolas Delaunay, later became characteristic of the Régence style and was subsequently adopted by many silversmiths, such as Nicolas Besnier (1686–1754) for the toilet service of the Duchess of Modena, seven pieces of which were sold at Christie’s Paris on 27 November 2019.
The most striking decorative element is undoubtedly the panther-shaped handle, which Delaunay borrowed from Enea Vico (fig. 3), along with the shape of the ewer inspired by antique vases themselves derived from footless amphorae, as seen on Vico's drawing, dated around 1543.
Delaunay also used this “layered” decoration, enhanced through the use of relief chasing and matted finish, which accentuates the depth of the design and demonstrates his artistic mastery.
The only surviving complete object
Although this model of ewer was widely reproduced in bronze until the 19th century, only two known examples in silver-gilt made by Delaunay seem to exist, dated respectively 1697 and 1704; furthermore the Ortiz example is the only one to still have its basin.
The 1697 example bears the arms of Cardinal Louis-Joseph de Montmorency-Laval (1724–1808), Bishop of Orléans in 1753, Bishop of Metz in 1760, Grand Almoner of France in 1786, created cardinal in 1789, and deceased in 1808. It later passed by descent to Monsignor de Vareilles-Sommières, former Vicar General to Montmorency-Laval in Metz and Bishop of Gap, who died in Poitiers in 1831, before entering the Vareilles-Sommières Chapel in Poitiers Cathedral, where it is still preserved today.
Our ewer dates a few years later, to 1704, an important year for Delaunay, who supplied the tableware and silver service intended for the Duke of Burgundy, born on 25 June 1704 at Versailles. That same year, he was also authorised by the King to continue exercising his functions as Director of the Mint and Secretary to the King in the Chancellery attached to the Parliament of Rouen (M. Bimbenet-Privat, op. cit., 1990, vol. 1, p. 313).
Unlike the Poitiers example, however, this ewer still has its large oval basin.
This ewer was certainly among Delaunay’s most important works, as in the same year he had himself painted by Robert Le Vrac de Tournières (1667–1752) (fig. 1) and chose to display the ewer on his bookcase - perhaps indeed our very ewer.
This model of ewer was undoubtedly one of the most iconic and highly sought after by collectors as early as the 18th century, as shown in Jean Siméon Chardin’s 1766 painting Les Attributs des Arts (Minneapolis Institute of Art, 52.15), which depicts a covered version of the ewer. The model was owned by major collectors such as Augustin Blondel de Gagny (1695–1776), Intendant of the Menus Plaisirs du Roi, who possessed six bronze ewers, two of which were sold upon his death to the Parisian dealer Madame Légère (fig. 4).
The arms of one of the fathers of the 1789 Declaration of the Rights of Man and of the Citizen
The coat-of-arms engraved on this ewer and basin are those of Jérôme Marie Champion de Cicé (1735–1810) (fig. 2), although certain variations in the heraldic colours suggest an engraver’s error. Indeed, these arms were engraved later, replacing the original arms, probably when Champion de Cicé assumed his office as Archbishop of Aix-en-Provence.
A French clergyman and statesman, he studied at the Collège du Plessis in Paris, where he befriended Turgot, Loménie de Brienne, and Morellet. He obtained a doctorate in theology from the Sorbonne in 1763 and embarked upon an ecclesiastical and administrative career distinguished by his organisational and oratorical talents.
Ordained priest in 1761, he became Vicar General at Auxerre, then General Agent of the Clergy of France (1765–1770), before being appointed Bishop of Rodez in 1770. An enlightened reformer, he took a keen interest in economics and the welfare of the people. In 1781, he became Archbishop of Bordeaux, where he notably contributed to the foundation of the National Institute for Deaf Youth.
Elected deputy of the clergy to the Estates-General of 1789, he played a major role in drafting the Declaration of the Rights of Man and of the Citizen. His contribution consisted of 24 articles, presented on behalf of the sixth bureau of the Constituent Assembly, served as the basis for the final text adopted on 26 August 1789.
Later appointed Keeper of the Seals by Louis XVI, he resigned in 1790 after the adoption of the Civil Constitution of the Clergy, which he refused to support. Exiled during the Revolution, he stayed in Brussels, Holland, and then London, where he continued to defend a liberal and spiritual vision of Catholicism.
In 1801, following the Concordat, he returned to France and was appointed Archbishop of Aix-en-Provence in 1802. Faithful to his convictions, he encouraged the dissemination of catechism in local languages. He was made an Officer of the Legion of Honour in 1805 and Count of the Empire in 1808. Jérôme Champion de Cicé died in Aix-en-Provence on 19 August 1810.
A major figure of the enlightened French clergy of the 18th century, he is remembered as one of the founding fathers of the Declaration of the Rights of Man and of the Citizen.
The baluster-shaped ewer on spreading foot chased with gadrooned border and acanthus leaves, the body chased on lower part with lambrequins on matted ground with plain rib above, applied on upper part with two medallions figuring Christ and the Virgin in profile on trelliswork and flanked by two large palms, applied on the shoulder with a ribbon-tied oak leaves garland beneath a frieze of shells and leaves, the spout chased with swirling flutes and a shell, the handle shaped as a raised panther on a mascaron ; the oval basin chased on rim with entrelacs and rosettes and a band of waves, later engraved on ewer and basin with a coat-of-arms, marked underneath the ewer, on rim of basin and on borders
The Father of the Régence style
Few silver objects by Nicolas Delaunay have survived, even though his designs inspired generations of goldsmiths and he remains one of the greatest silversmiths of the transitional period between the reign of Louis XIV and the Régence under Philippe II, Duke of Orléans (1715-1723).
Alongside his master Claude Ballin (1615–1678), Nicolas Delaunay made Louis XIV’s silver furniture and gold tableware. The grandson and son of a goldsmith and mint master under Louis XIII, he trained in Ballin's workshop whose niece Madeleine he married in 1676. According to the marriage contract, Delaunay agreed to live and work with Ballin for two years in exchange for a gift of 11,000 livres. At the end of this period, he was to receive a further “reward” of 1,000 livres and become an “associate.”
Beyond this financial arrangement, however, Delaunay became above all the heir to Ballin’s artistic heritage, as well as part of his workshop assets upon the master’s death in 1678, which included “casts, plaster models, drawings, engravings, and books” (Arch. Nat., Minutier central, XCVII, 47). Delaunay subsequently became goldsmith to Louis XIV and took over Ballin’s unfinished projects. Until 1687, he worked intensively to supply Versailles with silverware.
His closeness to the royal court enabled him, in November 1696, to become Director of the Balanciers (coin press) at the Louvre Palace, responsible for the production of gold and silver medals and tokens, as well as bronze and copper coins. These functions, combined with his heritage as the son of a mint master, certainly explain his taste for the medallion motif inspired by ancient coins, which can be admired chased on the body of the ewer. Delaunay introduced this decorative motif as early as 1678 in his designs for the cadenas (nef) of Queen Marie-Thérèse of Austria and the Countess Oxenstierna's dressing service.
This ornament, whose invention may be attributed to Nicolas Delaunay, later became characteristic of the Régence style and was subsequently adopted by many silversmiths, such as Nicolas Besnier (1686–1754) for the toilet service of the Duchess of Modena, seven pieces of which were sold at Christie’s Paris on 27 November 2019.
The most striking decorative element is undoubtedly the panther-shaped handle, which Delaunay borrowed from Enea Vico (fig. 3), along with the shape of the ewer inspired by antique vases themselves derived from footless amphorae, as seen on Vico's drawing, dated around 1543.
Delaunay also used this “layered” decoration, enhanced through the use of relief chasing and matted finish, which accentuates the depth of the design and demonstrates his artistic mastery.
The only surviving complete object
Although this model of ewer was widely reproduced in bronze until the 19th century, only two known examples in silver-gilt made by Delaunay seem to exist, dated respectively 1697 and 1704; furthermore the Ortiz example is the only one to still have its basin.
The 1697 example bears the arms of Cardinal Louis-Joseph de Montmorency-Laval (1724–1808), Bishop of Orléans in 1753, Bishop of Metz in 1760, Grand Almoner of France in 1786, created cardinal in 1789, and deceased in 1808. It later passed by descent to Monsignor de Vareilles-Sommières, former Vicar General to Montmorency-Laval in Metz and Bishop of Gap, who died in Poitiers in 1831, before entering the Vareilles-Sommières Chapel in Poitiers Cathedral, where it is still preserved today.
Our ewer dates a few years later, to 1704, an important year for Delaunay, who supplied the tableware and silver service intended for the Duke of Burgundy, born on 25 June 1704 at Versailles. That same year, he was also authorised by the King to continue exercising his functions as Director of the Mint and Secretary to the King in the Chancellery attached to the Parliament of Rouen (M. Bimbenet-Privat, op. cit., 1990, vol. 1, p. 313).
Unlike the Poitiers example, however, this ewer still has its large oval basin.
This ewer was certainly among Delaunay’s most important works, as in the same year he had himself painted by Robert Le Vrac de Tournières (1667–1752) (fig. 1) and chose to display the ewer on his bookcase - perhaps indeed our very ewer.
This model of ewer was undoubtedly one of the most iconic and highly sought after by collectors as early as the 18th century, as shown in Jean Siméon Chardin’s 1766 painting Les Attributs des Arts (Minneapolis Institute of Art, 52.15), which depicts a covered version of the ewer. The model was owned by major collectors such as Augustin Blondel de Gagny (1695–1776), Intendant of the Menus Plaisirs du Roi, who possessed six bronze ewers, two of which were sold upon his death to the Parisian dealer Madame Légère (fig. 4).
The arms of one of the fathers of the 1789 Declaration of the Rights of Man and of the Citizen
The coat-of-arms engraved on this ewer and basin are those of Jérôme Marie Champion de Cicé (1735–1810) (fig. 2), although certain variations in the heraldic colours suggest an engraver’s error. Indeed, these arms were engraved later, replacing the original arms, probably when Champion de Cicé assumed his office as Archbishop of Aix-en-Provence.
A French clergyman and statesman, he studied at the Collège du Plessis in Paris, where he befriended Turgot, Loménie de Brienne, and Morellet. He obtained a doctorate in theology from the Sorbonne in 1763 and embarked upon an ecclesiastical and administrative career distinguished by his organisational and oratorical talents.
Ordained priest in 1761, he became Vicar General at Auxerre, then General Agent of the Clergy of France (1765–1770), before being appointed Bishop of Rodez in 1770. An enlightened reformer, he took a keen interest in economics and the welfare of the people. In 1781, he became Archbishop of Bordeaux, where he notably contributed to the foundation of the National Institute for Deaf Youth.
Elected deputy of the clergy to the Estates-General of 1789, he played a major role in drafting the Declaration of the Rights of Man and of the Citizen. His contribution consisted of 24 articles, presented on behalf of the sixth bureau of the Constituent Assembly, served as the basis for the final text adopted on 26 August 1789.
Later appointed Keeper of the Seals by Louis XVI, he resigned in 1790 after the adoption of the Civil Constitution of the Clergy, which he refused to support. Exiled during the Revolution, he stayed in Brussels, Holland, and then London, where he continued to defend a liberal and spiritual vision of Catholicism.
In 1801, following the Concordat, he returned to France and was appointed Archbishop of Aix-en-Provence in 1802. Faithful to his convictions, he encouraged the dissemination of catechism in local languages. He was made an Officer of the Legion of Honour in 1805 and Count of the Empire in 1808. Jérôme Champion de Cicé died in Aix-en-Provence on 19 August 1810.
A major figure of the enlightened French clergy of the 18th century, he is remembered as one of the founding fathers of the Declaration of the Rights of Man and of the Citizen.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA