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ESTAMPILLE DE JEAN-FRANÇOIS OEBEN, VERS 1761 - 1763
细节
TABLE À OUVRAGE D'ÉPOQUE LOUIS XV
ESTAMPILLE DE JEAN-FRANÇOIS OEBEN, VERS 1761 - 1763
En marqueterie de bois de rose, bois de violette, érable, sycomore, poirier, épine vinette, houx, ébène et ornementation de bronze ciselé et doré, le plateau supérieur à double abattant découvrant un compartiment garni de soie moirée, ceint d'une lingotière à décor d'une rosace à huit lobes présentant chacun une essence de fleur, dont lys, tulipe, muguet et œillet, centrée d'une étoile, les montants mouvementés soutenant deux étagères circulaires à décor de cartouches polylobés ornés de branches fleuries, les ceintures assorties de branches nouées de rubans, ouvrant par deux tiroirs aux champs plaqués, reposant sur trois pieds cambrés terminés en enroulements de feuilles d'acanthe, sur des roulettes, estampillée 'J.F. OEBEN' et 'JME' sous le tiroir du haut, la table lestée de plomb sous le tiroir inférieur
H. 84 cm. (33 ¼ in.) ; D. 36 cm. (14 in.)
Jean-François Oeben, reçu « ébéniste et mécanicien du Roi » en 1760.
ESTAMPILLE DE JEAN-FRANÇOIS OEBEN, VERS 1761 - 1763
En marqueterie de bois de rose, bois de violette, érable, sycomore, poirier, épine vinette, houx, ébène et ornementation de bronze ciselé et doré, le plateau supérieur à double abattant découvrant un compartiment garni de soie moirée, ceint d'une lingotière à décor d'une rosace à huit lobes présentant chacun une essence de fleur, dont lys, tulipe, muguet et œillet, centrée d'une étoile, les montants mouvementés soutenant deux étagères circulaires à décor de cartouches polylobés ornés de branches fleuries, les ceintures assorties de branches nouées de rubans, ouvrant par deux tiroirs aux champs plaqués, reposant sur trois pieds cambrés terminés en enroulements de feuilles d'acanthe, sur des roulettes, estampillée 'J.F. OEBEN' et 'JME' sous le tiroir du haut, la table lestée de plomb sous le tiroir inférieur
H. 84 cm. (33 ¼ in.) ; D. 36 cm. (14 in.)
Jean-François Oeben, reçu « ébéniste et mécanicien du Roi » en 1760.
来源
Collection The Rt. Hon. The Dowager Lady Foley ;
Sa vente, Christie's, Londres, 17 mars 1960, lot 63 ;
Galerie Marcel Bissey, Paris ; acquis par
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, salon carré ;
Puis par descendance.
Sa vente, Christie's, Londres, 17 mars 1960, lot 63 ;
Galerie Marcel Bissey, Paris ; acquis par
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, salon carré ;
Puis par descendance.
出版
'J.-F. Oeben' dans Christie's, Revue de l'année, 1960, p. 58.
'An important Louis XV marquetry table à ouvrage, the property of the Rt. Hon. The Dowager Lady Foley', Arte Figurativa, Italie, Rome, 1960, N. 1, Année VIII.
F. Salverte, Les ébénistes du XVIIIe siècle, leurs œuvres et leurs marques, Paris, 1962, p. 247, pl. LXXXVI.
P. Verlet, P. Levallois, G. d'Angélis, Les ébénistes du XVIIIe siècle français, Paris, 1963, p. 149, fig. 2 (ill.).
R. Stratmann-Döhler, Jean-François Oeben 1721-1763, Paris, 2002, pp. 102-103, ill ; pp. 187-188, cat. no. 171.
Bibliographie comparative :
Peter Hughes, The Wallace Collection Catalogue of Furniture, Londres, 1996, p. 1076-1082, no 212 ; (voir également les no. 211 et 213).
Y. Chastang 'Louis Tessier's Livre de principes de fleurs and the Eighteenth-Century Marqueteur' dans The Furniture History Society, vol. XLIII, Paris, 2007, p. 115-126.
'An important Louis XV marquetry table à ouvrage, the property of the Rt. Hon. The Dowager Lady Foley', Arte Figurativa, Italie, Rome, 1960, N. 1, Année VIII.
F. Salverte, Les ébénistes du XVIIIe siècle, leurs œuvres et leurs marques, Paris, 1962, p. 247, pl. LXXXVI.
P. Verlet, P. Levallois, G. d'Angélis, Les ébénistes du XVIIIe siècle français, Paris, 1963, p. 149, fig. 2 (ill.).
R. Stratmann-Döhler, Jean-François Oeben 1721-1763, Paris, 2002, pp. 102-103, ill ; pp. 187-188, cat. no. 171.
Bibliographie comparative :
Peter Hughes, The Wallace Collection Catalogue of Furniture, Londres, 1996, p. 1076-1082, no 212 ; (voir également les no. 211 et 213).
Y. Chastang 'Louis Tessier's Livre de principes de fleurs and the Eighteenth-Century Marqueteur' dans The Furniture History Society, vol. XLIII, Paris, 2007, p. 115-126.
更多详情
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, KINGWOOD, MAPLE AND EBONY TABLE À OUVRAGE, BY JEAN-FRANÇOIS OEBEN, CIRCA 1761-1763
This apparently unique work table embodies all the qualities that established Jean-François Oeben as one of the most celebrated and admired Parisian cabinet-makers of his time: an innovative form, an ingenious construction and floral marquetry of extraordinary virtuosity.
Originally from Germany, Oeben settled in Paris, where in 1749 he married Françoise-Marguerite Vandercruse, sister of Roger Vandercruse, known as Lacroix. He then entered the workshop of Charles-Joseph Boulle, son of the great André-Charles Boulle, before being authorised to work partly on his own account and for the marchand-mercier Lazare Duvaux. The latter notably supplied Madame de Pompadour, who became Oeben’s principal patron. Upon the death of Charles-Joseph Boulle in 1754, Oeben was appointed Ébéniste du Roi at the Gobelins and later received the title of “Ébéniste-Mécanicien du Roi”, in recognition of his exceptional mastery of mechanical furniture. Jean-François Oeben is one of the very few eighteenth-century cabinet-makers whose name appears in contemporary sale catalogues and writings devoted to the decorative arts. He officially obtained his maîtrise in 1761, only two years before his death. The presence of both his stamp and that of the Jurande des Menuisiers-Ébénistes (JME) therefore dates the execution of the present table to between 1761 and 1763, although certain technical features suggest that its conception may have begun as early as 1758.
This table perfectly illustrates Oeben’s inventive genius. Beneath its apparent simplicity lies a remarkably sophisticated design. Its innovation resides in the superimposition of three levels: the two lower tiers are fitted with drawers, while the upper section is enclosed by a pair of hinged flaps. Although not a true mechanical piece, this arrangement rendered the table unstable; Oeben solved the problem by fixing an iron plate beneath the lower tier, a solution as simple as it was effective.
The floral marquetry, distinguished by its exceptional naturalism, is equally characteristic of his work. Its highly personal design was probably conceived by Oeben himself, which would explain the perfect harmony between the structure of the piece and its decoration. The flowers derive from Louis Tessier’s Livre de principes de fleurs, published in 1755 and used by Oeben from around 1760 onwards. Rather than reproducing Tessier’s compositions in their entirety, the marqueteur isolated individual flowers and adapted them to the proportions of the furniture.
While the rich floral compositions adorning the sides of the various tiers find numerous parallels in Oeben’s œuvre, the decoration of the top appears to be without known equivalent. Eight distinct bouquets, including lilies, tulips, lilies-of-the-valley and carnations, radiate within the petals of a stylised rosette. This composition recalls the mon, circular emblems frequently encountered in Japanese decorative arts, particularly on lacquerware. The influence of Japanese lacquer on Parisian marquetry is well documented; this rosette, together with the medallions adorning the two lower tiers, each decorated with a single flowering branch against a plain ground, provides a particularly original illustration of this phenomenon. The model of the table itself may in fact have been inspired by multi-tiered Japanese lacquer stands and display shelves, whose curved legs recall those of the present piece. Oeben had ample opportunity to study such objects through Madame de Pompadour, who possessed the most prestigious collection of Japanese lacquer in France.
The floral marquetry may be compared with several masterpieces by Oeben. Its richness and realism are particularly reminiscent of the decoration of the bureau à cylindre preserved in the Musée des Arts Décoratifs (inv. CAM 191), of the marquetry adorning every surface, including the writing slide, of the table made for Madame de Pompadour, now in the Metropolitan Museum of Art, New York (inv. 1982.60.61), and of that found on a table preserved in the Rijksmuseum, Amsterdam (inv. BK.16854). Likewise, the top of the small reading table sold at Christie’s on 27 November 1958, combining mahogany, rosewood, sycamore, stained woods and ivory, constitutes, like the present work table, a veritable “painting in wood”. A commode attributed to Jean-Pierre Latz and Jean-François Oeben, sold at Christie’s New York, 2 November 2000, lot 20, displays marquetry of similarly abundant naturalism.
In order to preserve the purity of the design, the gilt-bronze mounts have been reduced to the bare essentials: sabots characteristic of Oeben’s work and discreet drawer pulls, including that of the upper section, which functions as a trompe-l’œil since it opens no drawer. Attention is thus focused entirely on the silhouette of the piece and the virtuosity of its marquetry.
Shortly after Oeben’s death in 1763, his principal collaborator and successor, Jean-Henri Riesener (1734-1806), developed a new interpretation of this work table, enriched with numerous neo-classical elements and a far more elaborate gilt-bronze ornamentation. A remarkable example of this later version is now preserved in the Wallace Collection (Peter Hughes, The Wallace Collection Catalogue of Furniture, London, 1996, pp. 1076-1082, no. 212; see also nos. 211 and 213).
We are grateful to Dr Reinier Baarsen for his contribution to the preparation of this catalogue entry.
This apparently unique work table embodies all the qualities that established Jean-François Oeben as one of the most celebrated and admired Parisian cabinet-makers of his time: an innovative form, an ingenious construction and floral marquetry of extraordinary virtuosity.
Originally from Germany, Oeben settled in Paris, where in 1749 he married Françoise-Marguerite Vandercruse, sister of Roger Vandercruse, known as Lacroix. He then entered the workshop of Charles-Joseph Boulle, son of the great André-Charles Boulle, before being authorised to work partly on his own account and for the marchand-mercier Lazare Duvaux. The latter notably supplied Madame de Pompadour, who became Oeben’s principal patron. Upon the death of Charles-Joseph Boulle in 1754, Oeben was appointed Ébéniste du Roi at the Gobelins and later received the title of “Ébéniste-Mécanicien du Roi”, in recognition of his exceptional mastery of mechanical furniture. Jean-François Oeben is one of the very few eighteenth-century cabinet-makers whose name appears in contemporary sale catalogues and writings devoted to the decorative arts. He officially obtained his maîtrise in 1761, only two years before his death. The presence of both his stamp and that of the Jurande des Menuisiers-Ébénistes (JME) therefore dates the execution of the present table to between 1761 and 1763, although certain technical features suggest that its conception may have begun as early as 1758.
This table perfectly illustrates Oeben’s inventive genius. Beneath its apparent simplicity lies a remarkably sophisticated design. Its innovation resides in the superimposition of three levels: the two lower tiers are fitted with drawers, while the upper section is enclosed by a pair of hinged flaps. Although not a true mechanical piece, this arrangement rendered the table unstable; Oeben solved the problem by fixing an iron plate beneath the lower tier, a solution as simple as it was effective.
The floral marquetry, distinguished by its exceptional naturalism, is equally characteristic of his work. Its highly personal design was probably conceived by Oeben himself, which would explain the perfect harmony between the structure of the piece and its decoration. The flowers derive from Louis Tessier’s Livre de principes de fleurs, published in 1755 and used by Oeben from around 1760 onwards. Rather than reproducing Tessier’s compositions in their entirety, the marqueteur isolated individual flowers and adapted them to the proportions of the furniture.
While the rich floral compositions adorning the sides of the various tiers find numerous parallels in Oeben’s œuvre, the decoration of the top appears to be without known equivalent. Eight distinct bouquets, including lilies, tulips, lilies-of-the-valley and carnations, radiate within the petals of a stylised rosette. This composition recalls the mon, circular emblems frequently encountered in Japanese decorative arts, particularly on lacquerware. The influence of Japanese lacquer on Parisian marquetry is well documented; this rosette, together with the medallions adorning the two lower tiers, each decorated with a single flowering branch against a plain ground, provides a particularly original illustration of this phenomenon. The model of the table itself may in fact have been inspired by multi-tiered Japanese lacquer stands and display shelves, whose curved legs recall those of the present piece. Oeben had ample opportunity to study such objects through Madame de Pompadour, who possessed the most prestigious collection of Japanese lacquer in France.
The floral marquetry may be compared with several masterpieces by Oeben. Its richness and realism are particularly reminiscent of the decoration of the bureau à cylindre preserved in the Musée des Arts Décoratifs (inv. CAM 191), of the marquetry adorning every surface, including the writing slide, of the table made for Madame de Pompadour, now in the Metropolitan Museum of Art, New York (inv. 1982.60.61), and of that found on a table preserved in the Rijksmuseum, Amsterdam (inv. BK.16854). Likewise, the top of the small reading table sold at Christie’s on 27 November 1958, combining mahogany, rosewood, sycamore, stained woods and ivory, constitutes, like the present work table, a veritable “painting in wood”. A commode attributed to Jean-Pierre Latz and Jean-François Oeben, sold at Christie’s New York, 2 November 2000, lot 20, displays marquetry of similarly abundant naturalism.
In order to preserve the purity of the design, the gilt-bronze mounts have been reduced to the bare essentials: sabots characteristic of Oeben’s work and discreet drawer pulls, including that of the upper section, which functions as a trompe-l’œil since it opens no drawer. Attention is thus focused entirely on the silhouette of the piece and the virtuosity of its marquetry.
Shortly after Oeben’s death in 1763, his principal collaborator and successor, Jean-Henri Riesener (1734-1806), developed a new interpretation of this work table, enriched with numerous neo-classical elements and a far more elaborate gilt-bronze ornamentation. A remarkable example of this later version is now preserved in the Wallace Collection (Peter Hughes, The Wallace Collection Catalogue of Furniture, London, 1996, pp. 1076-1082, no. 212; see also nos. 211 and 213).
We are grateful to Dr Reinier Baarsen for his contribution to the preparation of this catalogue entry.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA