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TROISIÈME QUART DU XVIIIE SIÈCLE
细节
ENCRIER D'ÉPOQUE LOUIS XV
TROISIÈME QUART DU XVIIIE SIÈCLE
En noyer noirci, marqueterie de bois de rose et de bois de violette soulignée par un filet d'érable, laiton et ornementation de bronze ciselé et doré, comprenant un porte-plume, un encrier et une boîte à sable, ceint d'enroulements de feuillages enrubannés, sur des petits pieds appliqués de feuilles d'acanthe ; restauration
H. 7,5 cm. (2 ¾ in.) ; L. 37,5 cm. (14 ¾ in.) ; P. 22,5 cm. (8 ¾ in.)
TROISIÈME QUART DU XVIIIE SIÈCLE
En noyer noirci, marqueterie de bois de rose et de bois de violette soulignée par un filet d'érable, laiton et ornementation de bronze ciselé et doré, comprenant un porte-plume, un encrier et une boîte à sable, ceint d'enroulements de feuillages enrubannés, sur des petits pieds appliqués de feuilles d'acanthe ; restauration
H. 7,5 cm. (2 ¾ in.) ; L. 37,5 cm. (14 ¾ in.) ; P. 22,5 cm. (8 ¾ in.)
来源
Collection Rodolphe Kann (1845-1905) ;
Sa vente, Paris, 1907, lot 102 ;
Collection du comte Boni de Castellane (1867-1932) ;
Collection Lucien Delplace (1897-1991), Bruxelles ;
Collection particulière européenne, acquis du précédent en 1967 ;
Vente Sotheby's Monaco, 14 juin 1995, lot 91 ;
George Ortiz (1927-2013), acquis lors de la vente précédente ;
Puis par descendance.
Sa vente, Paris, 1907, lot 102 ;
Collection du comte Boni de Castellane (1867-1932) ;
Collection Lucien Delplace (1897-1991), Bruxelles ;
Collection particulière européenne, acquis du précédent en 1967 ;
Vente Sotheby's Monaco, 14 juin 1995, lot 91 ;
George Ortiz (1927-2013), acquis lors de la vente précédente ;
Puis par descendance.
更多详情
A LOUIS XV ORMOLU-MOUNTED EBONISED AND TULIPWOOD INKSTAND, THIRD QUARTER OF THE 18TH CENTURY
This inkstand of rare virtuosity features a curved rosewood veneer, elegantly highlighted by a violet wood frieze and a maple fillet, perfectly following the angles and curves of the two small basins. This technical feat recalls the oeuvre of Joseph Baumhauer or Bernard II van Risenburgh (known as B.V.R.B.); it is unquestionably the creation of a great ébéniste of the Louis XV period. The ebonised walnut of the lower section, admirably contrasting with the brilliance of the gilt-bronzes and the light tones of the rosewood, is reminiscent of the pair of corner cupboards by Bernard II van Risenburgh made for Madame de Pompadour, offered as lot 11 in this sale, partially japanned in black to harmonise with a suite of marquetry furniture, lacquer or European varnish. It is therefore possible to envisage a prestigious commission comprising a suite of furniture conceived in perfect harmony down to the smallest objects, such as this inkstand. The suppleness of the marquetry mirrors the fluidity of the gilt-bronzes, particularly in the dynamism of the elongated foliage that winds its way along the entire length of the inkstand. This ornamental creativity lends support to a possible attribution to Bernard II van Risenburgh, who designed his own gilt-bronzes. One may even discern here a variation of his celebrated scrolling foliage motifs, joined in accolade, the point of which is formed by a central acanthus leaf unfurling almost like a shell. The elongation of the foliate lines and the harmonious symmetry of its form suggest that this inkstand belongs more closely to the restrained rocaille style of the 1750s.
This object accompanied great intellectuals and socialites in their writing. It first belonged to the German-born banker and financier Rodolphe Kann (1845–1905), who assembled one of the most prestigious private art collections of the Belle Époque and, upon his death in 1905, contributed to enriching the collections of several major American museums. This inkstand was subsequently acquired by comte Boni de Castellane (1867–1932), the dashing French aristocrat who married the American heiress Anna Gould and commissioned the construction of the Palais Rose in Paris, furnished with a remarkable ensemble of seventeenth- and eighteenth-century furniture, paintings and works of art. The inkstand was later acquired by Lucien Delplace (1897–1991), a Belgian collector based in Brussels, renowned for his important collection of eighteenth-century French furniture, gilt-bronzes, porcelains and works of art.
This inkstand of rare virtuosity features a curved rosewood veneer, elegantly highlighted by a violet wood frieze and a maple fillet, perfectly following the angles and curves of the two small basins. This technical feat recalls the oeuvre of Joseph Baumhauer or Bernard II van Risenburgh (known as B.V.R.B.); it is unquestionably the creation of a great ébéniste of the Louis XV period. The ebonised walnut of the lower section, admirably contrasting with the brilliance of the gilt-bronzes and the light tones of the rosewood, is reminiscent of the pair of corner cupboards by Bernard II van Risenburgh made for Madame de Pompadour, offered as lot 11 in this sale, partially japanned in black to harmonise with a suite of marquetry furniture, lacquer or European varnish. It is therefore possible to envisage a prestigious commission comprising a suite of furniture conceived in perfect harmony down to the smallest objects, such as this inkstand. The suppleness of the marquetry mirrors the fluidity of the gilt-bronzes, particularly in the dynamism of the elongated foliage that winds its way along the entire length of the inkstand. This ornamental creativity lends support to a possible attribution to Bernard II van Risenburgh, who designed his own gilt-bronzes. One may even discern here a variation of his celebrated scrolling foliage motifs, joined in accolade, the point of which is formed by a central acanthus leaf unfurling almost like a shell. The elongation of the foliate lines and the harmonious symmetry of its form suggest that this inkstand belongs more closely to the restrained rocaille style of the 1750s.
This object accompanied great intellectuals and socialites in their writing. It first belonged to the German-born banker and financier Rodolphe Kann (1845–1905), who assembled one of the most prestigious private art collections of the Belle Époque and, upon his death in 1905, contributed to enriching the collections of several major American museums. This inkstand was subsequently acquired by comte Boni de Castellane (1867–1932), the dashing French aristocrat who married the American heiress Anna Gould and commissioned the construction of the Palais Rose in Paris, furnished with a remarkable ensemble of seventeenth- and eighteenth-century furniture, paintings and works of art. The inkstand was later acquired by Lucien Delplace (1897–1991), a Belgian collector based in Brussels, renowned for his important collection of eighteenth-century French furniture, gilt-bronzes, porcelains and works of art.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA