.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
ATTRIBUÉ À CHARLES CRESSENT, VERS 1720
细节
MIROIR À PARECLOSES D'ÉPOQUE RÉGENCE
ATTRIBUÉ À CHARLES CRESSENT, VERS 1720
En bronze ciselé et doré, de forme rectangulaire, dans un encadrement à parecloses ceint d'une frise d'entrelacs feuillagés stylisés, appliqué aux angles d'agrafes ajourées de feuillages et de branchages fleuris, la bordure intérieure godronnée ; fêles et une agrafe détachée ; restaurations
H. 204 cm. (80 1⁄3 in.) ; L. 142 cm. (59 ½ in.) ; P. 8 cm. (2 in.)
ATTRIBUÉ À CHARLES CRESSENT, VERS 1720
En bronze ciselé et doré, de forme rectangulaire, dans un encadrement à parecloses ceint d'une frise d'entrelacs feuillagés stylisés, appliqué aux angles d'agrafes ajourées de feuillages et de branchages fleuris, la bordure intérieure godronnée ; fêles et une agrafe détachée ; restaurations
H. 204 cm. (80 1⁄3 in.) ; L. 142 cm. (59 ½ in.) ; P. 8 cm. (2 in.)
来源
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
Puis par descendance.
出版
Bibliographie comparative :
S. Roche et al., Miroirs, Paris, 1986, p. 25.
P. Hugues, The Wallace Collection, vol. II, 1986, Londres, p. 740.
G. Child, Les Miroirs 1650-1900, Paris, 1991, p. 183.
A. Pradère, Charles Cressent, sculpteur, ébéniste du Régent, Dijon, 2003, pp. 8-43, 201-204.
S. Roche et al., Miroirs, Paris, 1986, p. 25.
P. Hugues, The Wallace Collection, vol. II, 1986, Londres, p. 740.
G. Child, Les Miroirs 1650-1900, Paris, 1991, p. 183.
A. Pradère, Charles Cressent, sculpteur, ébéniste du Régent, Dijon, 2003, pp. 8-43, 201-204.
更多详情
A REGENCE ORMOLU MIRROR, ATTRIBUTED TO CHARLES CRESSENT, CIRCA 1720
The present mirror belongs to the rare corpus of monumental trumeaux attributed to Charles Cressent. An example of comparable dimensions —1.80 metres high and 1.17 metres wide— was supplied to the Château de Saint-Cloud in 1724 for the Duc d’Orléans. Although some mirrors of this group are surmounted by a cresting, lot 105 in the sale of Cressent’s workshop stock in 1765 records “a trumeau with two mirror plates and a gilt-bronze border measuring six pieds three pouces high and four pieds three pouces wide, without the cresting”, almost certainly closely related to the present example.
The monumental scale of such works was made possible by advances in mirror-making achieved at the turn of the seventeenth and eighteenth centuries. Technical innovations developed by the Manufacture royale des glaces, established in 1665 under the patronage of Louis XIV and Colbert, allowed for the production of mirrors of unprecedented dimensions, whose decorative possibilities Cressent fully exploited.
Several comparable mirrors, formerly in the collection of Hubert de Givenchy, have appeared at auction in recent years. These include a mirror, dated circa 1720, sold at Christie's Paris, 14 June 2022, lot 21, and another, attributed to Charles Cressent, sold at Christie's Paris, 30 June 2022, lot 54. The latter features foliate mounts whose design is comparable to those on the present mirror.
Very few other gilt-bronze mirrors of comparable scale have survived. One should nevertheless note the example formerly in the Galleria di Castro, Rome, dating from circa 1700 and incorporating verre églomisé (probably illustrated in G. Child, Les Miroirs 1650-1900, Paris, 1991, p. 183, fig. 322). Contemporary documentation also records “two large mirrors measuring 15 by 18 feet, their borders of chased and gilt bronze, cast and chased by Caffieri after designs by Gabriel”, commissioned by Louis XV and presented as a diplomatic gift to Sultan Mahmud I, now lost.
CHARLES CRESSENT, SCULPTOR-ÉBÉNISTE
Trained as a sculptor by his father, François Cressent, in the family's workshop in Amiens, Charles Cressent settled in Paris around the turn of the eighteenth century. He was received as a maître-sculpteur by the Académie de Saint-Luc in 1714 and appears to have worked as a ciseleur (chaser) of gilt-bronze mounts for François Girardon and Robert Le Lorrain. His marriage in 1719 to the widow of the cabinet-maker Joseph Poitou enabled him to take over a small ébénisterie workshop, which he successfully expanded. By the 1720s, his talent had attracted a clientele among the most influential figures in the kingdom, including Philippe d'Orléans, Duke of Orléans and Regent of France, from whom he received the title Ébéniste du Régent, as well as Pierre Crozat, Jean de Boullongne, and several leading financiers and members of the aristocracy. This remarkable rise established Cressent as an artist whose dual training as both sculptor and cabinet-maker enabled him to develop a distinctive decorative vocabulary, in which gilt bronze became a fundamental structural element of his designs rather than merely an ornamental embellishment.
The singularity of Cressent’s work lies in the prominent role accorded to gilt bronze. He developed a highly personal ornamental vocabulary drawing upon a rich repertory of masks, trophies, palm fronds and stylised foliate compositions. To ensure the quality of their execution, he collaborated with leading fondeurs-ciseleurs, among them Léon-Jacques Cazobon and François Bruyer.
Defying the regulations of the guild system, which imposed a strict separation between trades, Cressent oversaw within his own workshop the production of both the furniture and its gilt-bronze mounts. This practice led to several lawsuits brought against him by the guild of fondeurs-ciseleurs. The inventory drawn up during the seizure of his workshop in 1723 notably records components intended for trumeaux de glace, testifying to the importance of this aspect of his production.
The present mirror belongs to the rare corpus of monumental trumeaux attributed to Charles Cressent. An example of comparable dimensions —1.80 metres high and 1.17 metres wide— was supplied to the Château de Saint-Cloud in 1724 for the Duc d’Orléans. Although some mirrors of this group are surmounted by a cresting, lot 105 in the sale of Cressent’s workshop stock in 1765 records “a trumeau with two mirror plates and a gilt-bronze border measuring six pieds three pouces high and four pieds three pouces wide, without the cresting”, almost certainly closely related to the present example.
The monumental scale of such works was made possible by advances in mirror-making achieved at the turn of the seventeenth and eighteenth centuries. Technical innovations developed by the Manufacture royale des glaces, established in 1665 under the patronage of Louis XIV and Colbert, allowed for the production of mirrors of unprecedented dimensions, whose decorative possibilities Cressent fully exploited.
Several comparable mirrors, formerly in the collection of Hubert de Givenchy, have appeared at auction in recent years. These include a mirror, dated circa 1720, sold at Christie's Paris, 14 June 2022, lot 21, and another, attributed to Charles Cressent, sold at Christie's Paris, 30 June 2022, lot 54. The latter features foliate mounts whose design is comparable to those on the present mirror.
Very few other gilt-bronze mirrors of comparable scale have survived. One should nevertheless note the example formerly in the Galleria di Castro, Rome, dating from circa 1700 and incorporating verre églomisé (probably illustrated in G. Child, Les Miroirs 1650-1900, Paris, 1991, p. 183, fig. 322). Contemporary documentation also records “two large mirrors measuring 15 by 18 feet, their borders of chased and gilt bronze, cast and chased by Caffieri after designs by Gabriel”, commissioned by Louis XV and presented as a diplomatic gift to Sultan Mahmud I, now lost.
CHARLES CRESSENT, SCULPTOR-ÉBÉNISTE
Trained as a sculptor by his father, François Cressent, in the family's workshop in Amiens, Charles Cressent settled in Paris around the turn of the eighteenth century. He was received as a maître-sculpteur by the Académie de Saint-Luc in 1714 and appears to have worked as a ciseleur (chaser) of gilt-bronze mounts for François Girardon and Robert Le Lorrain. His marriage in 1719 to the widow of the cabinet-maker Joseph Poitou enabled him to take over a small ébénisterie workshop, which he successfully expanded. By the 1720s, his talent had attracted a clientele among the most influential figures in the kingdom, including Philippe d'Orléans, Duke of Orléans and Regent of France, from whom he received the title Ébéniste du Régent, as well as Pierre Crozat, Jean de Boullongne, and several leading financiers and members of the aristocracy. This remarkable rise established Cressent as an artist whose dual training as both sculptor and cabinet-maker enabled him to develop a distinctive decorative vocabulary, in which gilt bronze became a fundamental structural element of his designs rather than merely an ornamental embellishment.
The singularity of Cressent’s work lies in the prominent role accorded to gilt bronze. He developed a highly personal ornamental vocabulary drawing upon a rich repertory of masks, trophies, palm fronds and stylised foliate compositions. To ensure the quality of their execution, he collaborated with leading fondeurs-ciseleurs, among them Léon-Jacques Cazobon and François Bruyer.
Defying the regulations of the guild system, which imposed a strict separation between trades, Cressent oversaw within his own workshop the production of both the furniture and its gilt-bronze mounts. This practice led to several lawsuits brought against him by the guild of fondeurs-ciseleurs. The inventory drawn up during the seizure of his workshop in 1723 notably records components intended for trumeaux de glace, testifying to the importance of this aspect of his production.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA