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MILIEU DU XVIIIE SIÈCLE, PROBABLEMENT LIVRÉE PAR JACQUES-FRANÇOIS MACHART
细节
PAIRE D'APPLIQUES D'ÉPOQUE LOUIS XV
MILIEU DU XVIIIE SIÈCLE, PROBABLEMENT LIVRÉE PAR JACQUES-FRANÇOIS MACHART
En bronze ciselé et doré, métal laqué et porcelaine tendre de Vincennes émaillée polychrome en pastillages, à deux bras de lumière en enroulements feuillagés enveloppés de branchages de roses, pivoines et oeillets
H. 52 cm. (20 ½ in.) ; L. 25 cm. (9 ¾ in.)
MILIEU DU XVIIIE SIÈCLE, PROBABLEMENT LIVRÉE PAR JACQUES-FRANÇOIS MACHART
En bronze ciselé et doré, métal laqué et porcelaine tendre de Vincennes émaillée polychrome en pastillages, à deux bras de lumière en enroulements feuillagés enveloppés de branchages de roses, pivoines et oeillets
H. 52 cm. (20 ½ in.) ; L. 25 cm. (9 ¾ 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 :
A. González-Palacios, Il Patrimonio artistico del Quirinale, Gli arredi francesi, Milan, 1995, p. 80.
T. Préaud, "The origins and history of porcelain flowers", French Porcelain Society Journal, Londres, 2003, Vol. I, pp. 47-55.
A. Pradère, "L'inventaire d'un grand marchand-mercier des années 1750 Jacques-François Machart", Objets d'Art, Mélanges en l'honneur de Daniel Alcouffe, Dijon, 2004, pp. 229-241.
A. González-Palacios, Il Patrimonio artistico del Quirinale, Gli arredi francesi, Milan, 1995, p. 80.
T. Préaud, "The origins and history of porcelain flowers", French Porcelain Society Journal, Londres, 2003, Vol. I, pp. 47-55.
A. Pradère, "L'inventaire d'un grand marchand-mercier des années 1750 Jacques-François Machart", Objets d'Art, Mélanges en l'honneur de Daniel Alcouffe, Dijon, 2004, pp. 229-241.
更多详情
A PAIR OF ORMOLU-MOUNTED VINCENNES PORCELAIN TWO-LIGHT WALL-LIGHTS, MID-18TH CENTURY, PROBABLY DELIVERED BY JACQUES-FRANÇOIS MACHART
The numerous references to soft-paste porcelain flowers “au naturel” found in eighteenth-century inventories and the account books of marchands-merciers bear witness to the enthusiasm for the pittoresque taste, magnificently illustrated by the present pair of wall-lights.
The Taste for Soft-Paste Porcelain Flowers
The development of porcelain flowers at Vincennes arose from a dual artistic and commercial ambition: to rival the flowers produced by the Meissen manufactory, which were highly sought-after throughout Europe and imported into France through the marchands-merciers. Supported by Louis XV, the young Vincennes manufactory obtained in 1745 the exclusive privilege to produce porcelain “in the Saxon manner”. It rapidly developed a dedicated flower workshop under the direction of Madame Gravant.
The earliest productions drew inspiration from exotic species such as chrysanthemums and peonies. Following the publication of several botanical treatises aimed at classifying plant species, the manufactory's floral production evolved considerably. Vincennes distinguished itself by creating botanically accurate specimens rendered in naturalistic colours, comparable to those found on the present pair of wall-lights. This rich palette of tones contributed greatly to the manufactory’s reputation and accompanied its first royal deliveries in 1747–1748.
Jacques-François Machart, a specialised marchand-mercier
The marchand-mercier Jacques-François Machart (active 1744–1763) specialised in the trade of soft-paste porcelain flowers. An inventory drawn up in 1753 following the death of his wife records that he operated a shop on the rue Saint-Honoré in Paris under the sign of ‘La Duchesse de Bourgogne’. He worked closely with another prominent marchand-mercier, Lazare Duvaux.
Successive inventories of Machart’s stock reveal a business focused primarily on European porcelain in all its forms. In 1753 alone, he possessed more than two thousand soft-paste porcelain flowers. These were principally used to embellish ormolu mounts, particularly chandeliers, lanterns, wall-lights and candlesticks.
Burdened by persistent payment delays from clients, Machart was ultimately forced into bankruptcy in 1763. Nevertheless, his commercial records demonstrate that he maintained a constant relationship with the Vincennes manufactory, which supplied him with its finest floral productions. His inventories consequently reveal a stock of prestigious objects highly sought after by an elite clientele.
The present pair of wall-lights may be compared with several examples preserved in important collections. A set of four wall-lights now in the Getty Museum (inv. 75.DF.4), dating from circa 1750, displays a more restrained design. Three further pairs, this time reflecting a more neo-classical aesthetic, are preserved in the Metropolitan Museum of Art, New York (inv. 1982.60.85/.86), the Palazzo Pitti, Florence (inv. CR125.2) respectively, and a pair was sold at Christie’s New York, 30 October 1996, lot 265. One of these pairs bears inventory marks indicating that the group originated in the Palace of Colorno, the residence of Louise Élisabeth of France, daughter of Louis XV.
The numerous references to soft-paste porcelain flowers “au naturel” found in eighteenth-century inventories and the account books of marchands-merciers bear witness to the enthusiasm for the pittoresque taste, magnificently illustrated by the present pair of wall-lights.
The Taste for Soft-Paste Porcelain Flowers
The development of porcelain flowers at Vincennes arose from a dual artistic and commercial ambition: to rival the flowers produced by the Meissen manufactory, which were highly sought-after throughout Europe and imported into France through the marchands-merciers. Supported by Louis XV, the young Vincennes manufactory obtained in 1745 the exclusive privilege to produce porcelain “in the Saxon manner”. It rapidly developed a dedicated flower workshop under the direction of Madame Gravant.
The earliest productions drew inspiration from exotic species such as chrysanthemums and peonies. Following the publication of several botanical treatises aimed at classifying plant species, the manufactory's floral production evolved considerably. Vincennes distinguished itself by creating botanically accurate specimens rendered in naturalistic colours, comparable to those found on the present pair of wall-lights. This rich palette of tones contributed greatly to the manufactory’s reputation and accompanied its first royal deliveries in 1747–1748.
Jacques-François Machart, a specialised marchand-mercier
The marchand-mercier Jacques-François Machart (active 1744–1763) specialised in the trade of soft-paste porcelain flowers. An inventory drawn up in 1753 following the death of his wife records that he operated a shop on the rue Saint-Honoré in Paris under the sign of ‘La Duchesse de Bourgogne’. He worked closely with another prominent marchand-mercier, Lazare Duvaux.
Successive inventories of Machart’s stock reveal a business focused primarily on European porcelain in all its forms. In 1753 alone, he possessed more than two thousand soft-paste porcelain flowers. These were principally used to embellish ormolu mounts, particularly chandeliers, lanterns, wall-lights and candlesticks.
Burdened by persistent payment delays from clients, Machart was ultimately forced into bankruptcy in 1763. Nevertheless, his commercial records demonstrate that he maintained a constant relationship with the Vincennes manufactory, which supplied him with its finest floral productions. His inventories consequently reveal a stock of prestigious objects highly sought after by an elite clientele.
The present pair of wall-lights may be compared with several examples preserved in important collections. A set of four wall-lights now in the Getty Museum (inv. 75.DF.4), dating from circa 1750, displays a more restrained design. Three further pairs, this time reflecting a more neo-classical aesthetic, are preserved in the Metropolitan Museum of Art, New York (inv. 1982.60.85/.86), the Palazzo Pitti, Florence (inv. CR125.2) respectively, and a pair was sold at Christie’s New York, 30 October 1996, lot 265. One of these pairs bears inventory marks indicating that the group originated in the Palace of Colorno, the residence of Louise Élisabeth of France, daughter of Louis XV.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA