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ATTRIBUÉS À ANDRÉ-CHARLES BOULLE, VERS 1715
细节
BUREAU PLAT ET SON CARTONNIER D'ÉPOQUE LOUIS XIV
ATTRIBUÉS À ANDRÉ-CHARLES BOULLE, VERS 1715
En placage d'amarante, incrustations de filets d'ébène et de laiton, bois noirci, ornementation de bronze ciselé et doré, le plateau rectangulaire gainé de cuir ceint d'une lingotière ornée aux quatre angles de rosettes et de feuilles d'acanthe, la ceinture ouvrant par trois tiroirs, trois tiroirs feints à l'arrière, chaque tiroir central et chaque côté appliqués d'un masque de satyre rayonnant, sur des pieds cambrés à décor de volutes de feuilles d'acanthe, terminés en enroulements feuillagés, le cartonnier à quatre casiers sommé d'une frise de feuilles d'acanthe et de profils aux angles supérieurs, les côtés ornés de masques de satyres flanqués de deux chutes de fleurs, sur des petits pieds ornés de fleurons
Bureau : H. 77 cm. (30 ¼ in.) ; L. 177 cm. (79 ¾ in.); P. 94 cm. (37 in.) ;
Cartonnier : H. 51 cm. (20 in.) ; L. 87,5 cm. (34 ½ in.) ; P. 32,5 cm. (12 ¾ in.)
ATTRIBUÉS À ANDRÉ-CHARLES BOULLE, VERS 1715
En placage d'amarante, incrustations de filets d'ébène et de laiton, bois noirci, ornementation de bronze ciselé et doré, le plateau rectangulaire gainé de cuir ceint d'une lingotière ornée aux quatre angles de rosettes et de feuilles d'acanthe, la ceinture ouvrant par trois tiroirs, trois tiroirs feints à l'arrière, chaque tiroir central et chaque côté appliqués d'un masque de satyre rayonnant, sur des pieds cambrés à décor de volutes de feuilles d'acanthe, terminés en enroulements feuillagés, le cartonnier à quatre casiers sommé d'une frise de feuilles d'acanthe et de profils aux angles supérieurs, les côtés ornés de masques de satyres flanqués de deux chutes de fleurs, sur des petits pieds ornés de fleurons
Bureau : H. 77 cm. (30 ¼ in.) ; L. 177 cm. (79 ¾ in.); P. 94 cm. (37 in.) ;
Cartonnier : H. 51 cm. (20 in.) ; L. 87,5 cm. (34 ½ in.) ; P. 32,5 cm. (12 ¾ in.)
来源
Galerie Marcel Bissey, Paris ; acquis en 1948 par
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
出版
Bibliographie comparative :
F. J. B. Watson, The Wallace Collection Catalogues: Furniture, Londres, 1956, pp. 741-746, cat. 158.
A. Pradère, Les Ébénistes français de Louis XIV à la Révolution, Paris, 1989, p. 77.
T. Murdoch et al., Boughton House, The English Versailles, Londres, 1992, p. 122, fig. 113.
J.-N. Ronfort, André-Charles Boulle, 1642-1732, un style nouveau pour l'Europe, Paris, 2009, p. 329, fig. 66.
F. J. B. Watson, The Wallace Collection Catalogues: Furniture, Londres, 1956, pp. 741-746, cat. 158.
A. Pradère, Les Ébénistes français de Louis XIV à la Révolution, Paris, 1989, p. 77.
T. Murdoch et al., Boughton House, The English Versailles, Londres, 1992, p. 122, fig. 113.
J.-N. Ronfort, André-Charles Boulle, 1642-1732, un style nouveau pour l'Europe, Paris, 2009, p. 329, fig. 66.
更多详情
A LOUIS XIV ORMOLU-MOUNTED AMARANTH AND EBONY INLAID DESK AND ITS CARTONNIER ATTRIBUTED TO ANDRÉ-CHARLES BOULLE, CIRCA 1715
A Desk by André-Charles Boulle
This superb bureau plat together with its cartonnier brings together all the defining characteristics of André-Charles Boulle’s œuvre and is a major representative of a group of desks produced in his workshop between circa 1700 and 1720. It belongs to the most accomplished type of bureau with three drawers, a concave frieze and a projecting central drawer, and is one of the very few known examples to have retained its original cartonnier.
The concept of the bureau itself originated in Boulle’s workshop in the form of writing tables with eight legs connected by stretchers and fitted with side drawers. As the model evolved, the drawers were moved to the front and the number of legs reduced to four, giving rise to several successive variants.
The first group, probably the earliest, comprises six-legged bureaux derived from a design by Boulle published by Mariette after 1707 (fig. 1). Recorded examples include a bureau formerly in the collection of the Earls of Ashburnham, sold by Hubert de Givenchy at Christie’s, Monaco, 4 December 1993, lot 68, and another from the celebrated Randon de Boisset collection (sale of 1777), now preserved at the Château de Vaux-le-Vicomte (A. Pradère, Les Ébénistes français de Louis XIV à la Révolution, Paris, 1989, p. 77).
The present bureau belongs to the second group, distinguished by its projecting central drawer. Among the celebrated series of drawings attributed to Boulle preserved at the Musée des Arts Décoratifs in Paris is a design dated circa 1710 that closely corresponds to this model, featuring the same cabriole legs and the same central drawer adorned with a grimacing mask (J.-N. Ronfort, André-Charles Boulle, 1642-1732, un style nouveau pour l'Europe, Paris, 2009, p. 329, fig. 66).
The third group, the most widely encountered, is characterized by a recessed central drawer. Among the best-known examples are those preserved in the Getty Museum (A. Pradère, op. cit., p. 78) and the Wallace Collection (F. J. B. Watson, The Wallace Collection Catalogues: Furniture, London, 1956, pp. 741-746, cat. 158).
Related Bureaux
While the majority of bureaux produced in Boulle’s workshop were executed in première-partie or contre-partie marquetry of brass and tortoiseshell against an ebony ground, the inventory of stock drawn up when he transferred his business to his sons in 1715 also records the production of models veneered in precious woods, including “a bureau in amaranth wood ready for gilding, made for Monsieur de Cotte”. Several amaranth-veneered bureaux also appeared in eighteenth-century sales, although their descriptions are generally too concise to permit secure identification.
The present bureau, veneered in amaranth, belongs to this particularly select group of pieces executed without brass-and-tortoiseshell marquetry. Its ormolu mounts are identical to those found on a small number of related examples sharing the same form and ornamental vocabulary, mounts that also recur on numerous consoles, tables and commodes produced by Boulle.
The closest comparison is undoubtedly the bureau with its cartonnier formerly in the Metropolitan Museum of Art, New York (fig. 2), successively in the collections of Georges Hoentschel and Pierpont Morgan, and sold at Sotheby’s, New York, 3 May 1986, lot 158. Executed in ebony, it displays an almost identical design and identical mounts, notably the mask of the laughing philosopher Democritus adorning the central drawer, expressly mentioned in the inventory compiled after Boulle’s death in 1732. Equally noteworthy are the foliate corner mounts, identical to those seen on the bureau preserved at the Château de Chantilly.
Another amaranth bureau with its cartonnier, mounted with faun-mask corner mounts, was commissioned circa 1714 by Charles-Henri Malon (1678–1742), Superintendent of Finance, for his Château de Bercy. It features the same sabre-shaped legs as the present bureau, while its principal ormolu mount is identical. Mentioned in Malon’s collection inventory of 1742, it remained in his descendants’ possession until the Christie’s Monaco sale of 15 December 1996, lot 136, before reappearing at Christie’s on 10 July 2014, lot 28 (fig. 4).
A bureau almost identical to the latter, differing only in its claw feet, formed part of the celebrated Jacques Doucet collection (Galerie Georges Petit, Paris, 7-8 June 1912, lot 317) (fig. 3) before reappearing in the Louis Guiraud sale, 10 December 1971, lot 119.
Another bureau veneered in amaranth and ebony came from the collection of Sir Philip Sassoon, Bt., and was sold by the Marquess of Cholmondeley in the sale Works of Art from Houghton, Christie’s London, 8 December 1994, lot 31. Other currently identified amaranth bureaux by Boulle include one formerly in the collection of Guy de Rothschild, sold at Sotheby’s Monaco, 11 December 1999, lot 32, as well as the celebrated “Michelet Bureau” preserved in the Archives Nationales de France, both distinguished by their female-mask corner mounts.
By contrast, the most frequently encountered examples remain those executed in première-partie and contre-partie marquetry. A remarkable première-partie example is preserved in the collection of the Duke of Buccleuch and Queensberry at Boughton House, Northamptonshire (T. Murdoch et al., Boughton House, The English Versailles, London, 1992, p. 122, fig. 113). Two contre-partie examples were sold respectively at Sotheby’s Paris, 30 September 2011, lot 66, and Christie’s London, 6 July 2006.
Across this entire group, the ormolu mounts remain remarkably consistent - drawer surrounds, the central mask of Democritus and the principal mounts - while the corner mounts, sabots and side handles vary, illustrating Boulle’s ability to reinterpret a single model through numerous variations.
The Cartonnier
The survival of the original cartonnier gives this ensemble an exceptional character. Boulle cartonniers are today of extreme rarity, and complete surviving ensembles rarer still. The moon-shaped masks adorning the cartonnier are found on two other known examples: one sold at the Palais Galliera, 11 June 1965, lot 29, and another at Sotheby’s Paris, 23 June 2004, lot 39. Their presence confirms this piece’s place among the most prestigious works of Boulle’s production and further demonstrates the remarkable coherence of his ornamental vocabulary.
We are grateful to M. Alexandre Pradère for his contribution to the preparation of this catalogue entry.
A Desk by André-Charles Boulle
This superb bureau plat together with its cartonnier brings together all the defining characteristics of André-Charles Boulle’s œuvre and is a major representative of a group of desks produced in his workshop between circa 1700 and 1720. It belongs to the most accomplished type of bureau with three drawers, a concave frieze and a projecting central drawer, and is one of the very few known examples to have retained its original cartonnier.
The concept of the bureau itself originated in Boulle’s workshop in the form of writing tables with eight legs connected by stretchers and fitted with side drawers. As the model evolved, the drawers were moved to the front and the number of legs reduced to four, giving rise to several successive variants.
The first group, probably the earliest, comprises six-legged bureaux derived from a design by Boulle published by Mariette after 1707 (fig. 1). Recorded examples include a bureau formerly in the collection of the Earls of Ashburnham, sold by Hubert de Givenchy at Christie’s, Monaco, 4 December 1993, lot 68, and another from the celebrated Randon de Boisset collection (sale of 1777), now preserved at the Château de Vaux-le-Vicomte (A. Pradère, Les Ébénistes français de Louis XIV à la Révolution, Paris, 1989, p. 77).
The present bureau belongs to the second group, distinguished by its projecting central drawer. Among the celebrated series of drawings attributed to Boulle preserved at the Musée des Arts Décoratifs in Paris is a design dated circa 1710 that closely corresponds to this model, featuring the same cabriole legs and the same central drawer adorned with a grimacing mask (J.-N. Ronfort, André-Charles Boulle, 1642-1732, un style nouveau pour l'Europe, Paris, 2009, p. 329, fig. 66).
The third group, the most widely encountered, is characterized by a recessed central drawer. Among the best-known examples are those preserved in the Getty Museum (A. Pradère, op. cit., p. 78) and the Wallace Collection (F. J. B. Watson, The Wallace Collection Catalogues: Furniture, London, 1956, pp. 741-746, cat. 158).
Related Bureaux
While the majority of bureaux produced in Boulle’s workshop were executed in première-partie or contre-partie marquetry of brass and tortoiseshell against an ebony ground, the inventory of stock drawn up when he transferred his business to his sons in 1715 also records the production of models veneered in precious woods, including “a bureau in amaranth wood ready for gilding, made for Monsieur de Cotte”. Several amaranth-veneered bureaux also appeared in eighteenth-century sales, although their descriptions are generally too concise to permit secure identification.
The present bureau, veneered in amaranth, belongs to this particularly select group of pieces executed without brass-and-tortoiseshell marquetry. Its ormolu mounts are identical to those found on a small number of related examples sharing the same form and ornamental vocabulary, mounts that also recur on numerous consoles, tables and commodes produced by Boulle.
The closest comparison is undoubtedly the bureau with its cartonnier formerly in the Metropolitan Museum of Art, New York (fig. 2), successively in the collections of Georges Hoentschel and Pierpont Morgan, and sold at Sotheby’s, New York, 3 May 1986, lot 158. Executed in ebony, it displays an almost identical design and identical mounts, notably the mask of the laughing philosopher Democritus adorning the central drawer, expressly mentioned in the inventory compiled after Boulle’s death in 1732. Equally noteworthy are the foliate corner mounts, identical to those seen on the bureau preserved at the Château de Chantilly.
Another amaranth bureau with its cartonnier, mounted with faun-mask corner mounts, was commissioned circa 1714 by Charles-Henri Malon (1678–1742), Superintendent of Finance, for his Château de Bercy. It features the same sabre-shaped legs as the present bureau, while its principal ormolu mount is identical. Mentioned in Malon’s collection inventory of 1742, it remained in his descendants’ possession until the Christie’s Monaco sale of 15 December 1996, lot 136, before reappearing at Christie’s on 10 July 2014, lot 28 (fig. 4).
A bureau almost identical to the latter, differing only in its claw feet, formed part of the celebrated Jacques Doucet collection (Galerie Georges Petit, Paris, 7-8 June 1912, lot 317) (fig. 3) before reappearing in the Louis Guiraud sale, 10 December 1971, lot 119.
Another bureau veneered in amaranth and ebony came from the collection of Sir Philip Sassoon, Bt., and was sold by the Marquess of Cholmondeley in the sale Works of Art from Houghton, Christie’s London, 8 December 1994, lot 31. Other currently identified amaranth bureaux by Boulle include one formerly in the collection of Guy de Rothschild, sold at Sotheby’s Monaco, 11 December 1999, lot 32, as well as the celebrated “Michelet Bureau” preserved in the Archives Nationales de France, both distinguished by their female-mask corner mounts.
By contrast, the most frequently encountered examples remain those executed in première-partie and contre-partie marquetry. A remarkable première-partie example is preserved in the collection of the Duke of Buccleuch and Queensberry at Boughton House, Northamptonshire (T. Murdoch et al., Boughton House, The English Versailles, London, 1992, p. 122, fig. 113). Two contre-partie examples were sold respectively at Sotheby’s Paris, 30 September 2011, lot 66, and Christie’s London, 6 July 2006.
Across this entire group, the ormolu mounts remain remarkably consistent - drawer surrounds, the central mask of Democritus and the principal mounts - while the corner mounts, sabots and side handles vary, illustrating Boulle’s ability to reinterpret a single model through numerous variations.
The Cartonnier
The survival of the original cartonnier gives this ensemble an exceptional character. Boulle cartonniers are today of extreme rarity, and complete surviving ensembles rarer still. The moon-shaped masks adorning the cartonnier are found on two other known examples: one sold at the Palais Galliera, 11 June 1965, lot 29, and another at Sotheby’s Paris, 23 June 2004, lot 39. Their presence confirms this piece’s place among the most prestigious works of Boulle’s production and further demonstrates the remarkable coherence of his ornamental vocabulary.
We are grateful to M. Alexandre Pradère for his contribution to the preparation of this catalogue entry.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA