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ESTAMPILLE DE MATHIEU CRIAERD, VERS 1740
细节
COMMODE D'ÉPOQUE LOUIS XV
ESTAMPILLE DE MATHIEU CRIAERD, VERS 1740
En laque du Japon, vernis européen, placage de satiné et ornementation de bronze ciselé et doré, le plateau de marbre rouge à double gorge, la façade en arbalète ouvrant par deux vantaux centrés de vases fleuris d'iris de différents tons d'or et rouge sur fond noir, les côtés à décor de paysages de montagne et paysages lacustres animés de lapins, le dos à trois panneaux moulurés, les montants appliqués de cartouches rocaille ajourés à chutes de fleurs, les pieds cambrés terminés de feuillages, estampillée 'M. CRIAERD' sous les côtés gauche et droit ; serrure à pêne fourchu, tringlerie haute et basse
H. 82,5 cm. (32 ½ in.) ; L. 135,5 cm. (53 ½ in.) ; P. 51 cm. (20 in.)
Mathieu Criaerd, reçu maître en 1738.
ESTAMPILLE DE MATHIEU CRIAERD, VERS 1740
En laque du Japon, vernis européen, placage de satiné et ornementation de bronze ciselé et doré, le plateau de marbre rouge à double gorge, la façade en arbalète ouvrant par deux vantaux centrés de vases fleuris d'iris de différents tons d'or et rouge sur fond noir, les côtés à décor de paysages de montagne et paysages lacustres animés de lapins, le dos à trois panneaux moulurés, les montants appliqués de cartouches rocaille ajourés à chutes de fleurs, les pieds cambrés terminés de feuillages, estampillée 'M. CRIAERD' sous les côtés gauche et droit ; serrure à pêne fourchu, tringlerie haute et basse
H. 82,5 cm. (32 ½ in.) ; L. 135,5 cm. (53 ½ in.) ; P. 51 cm. (20 in.)
Mathieu Criaerd, reçu maître en 1738.
来源
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, chambre bleue ;
Puis par descendance.
Puis par descendance.
出版
Bibliographie comparative :
C. Shimizu, Les laques du Japon, Paris, 1988.
P. Kjellberg, Le mobilier français du XVIIIe siècle, dictionnaire des ébénistes et des menuisiers, Paris, 1989.
T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999.
C. Shimizu, Les laques du Japon, Paris, 1988.
P. Kjellberg, Le mobilier français du XVIIIe siècle, dictionnaire des ébénistes et des menuisiers, Paris, 1989.
T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999.
更多详情
A LOUIS XV ORMOLU-MOUNTED JAPANESE LACQUER COMMODE, BY MATHIEU CRIAERD, CIRCA 1740
Original in its proportions, form and decoration, this elegant commode by Mathieu Criaerd (1689-1776) is unlike any other known example. Usually associated with the fully developed Louis XV style, characterised by generous curves and abundant gilt-bronze mounts, as exemplified by the Chinese lacquer commode by the same ébéniste offered in the present sale (lot 6), the present commode instead retains lines that still relate closely to the Régence style.
An Unpublished Model by Mathieu Criaerd
A close examination of the present commode strongly suggests that it emerged from Criaerd’s workshop shortly after he received his maîtrise in 1738. Its overall form provides the first indication. The façade is shaped en arbalète, a silhouette fashionable during the Régence period and largely abandoned by cabinet-makers during the subsequent reign. Furthermore, the rear legs are set wider apart than the front ones, giving the commode a trapezoidal appearance, another feature more commonly associated with the Régence period and the early years of Louis XV's reign. Charles Cressent (1685-1768) employed this configuration extensively, notably in his celebrated commodes à espagnolettes and commodes à palmes produced during the 1730s and early 1740s.
The ornament likewise suggests an early date within Criaerd’s œuvre. The escutcheon, whose design is perfectly symmetrical, together with the floral corner mounts and the sabots, all reflect a decorative vocabulary inherited from the Régence. A closely related Régence commode dating to circa 1730, comparable both in outline and in the placement of its mounts, was sold at Christie’s London, 4 July 1996, lot 370.
Finally, the choice of lacquer decoration further reinforces this sense of balanced composition characteristic of the Régence period. Each door on the façade is decorated with an identical flowering vase motif, responding perfectly to one another. This symmetrical arrangement, so closely associated with Régence taste, suggests that Mathieu Criaerd produced the present commode at a relatively early stage of his career. Although entirely different in style from the celebrated lacquer commode supplied in 1737 by BVRB for Queen Marie Leszczynska (1703-1768) and now preserved in the Musée du Louvre (inv. OA 11193), the present piece almost certainly ranks among the earliest commodes entirely sheathed in lacquer panels and appears to be previously unrecorded.
A Rare Example Decorated with Japanese Lacquer Panels Depicting Flowering Vases
The commode is veneered with four black-ground lacquer panels executed by Japanese lacquer artisans, linked together by European varnish of a matching tone. From the seventeenth century onwards, France imported Japanese lacquer through Dutch commercial networks, as Louis XIV’s kingdom had not yet established an East India company operating under the French flag.
The considerable collection of lacquer cabinets and coffers assembled by Cardinal Mazarin (1602-1661), comprising some sixty examples, attests to this trade before the 1660s. The inventory drawn up following his death in 1661 by the expert Pierre Lescot describes one panel, under no. 790, as depicting “a sort of square table upon which stands a large vase from which emerge branches of leaves and flowers [...]”. This description inevitably recalls the decoration found on the doors of the present commode.
Like the majority of lacquer panels incorporated into Parisian furniture, those on the present piece were originally taken from Japanese cabinets or coffers and subsequently reused by Parisian ébénistes. Since European trade with Japan declined significantly towards the end of the seventeenth century, it is highly probable that these lacquer panels themselves date from the seventeenth century.
Among Japanese lacquers, which were regarded by contemporary collectors as the finest, rarest and most expensive, the landscape scenes depicting mountains, lakes and villages found on the sides of the present commode are among the most common decorative subjects. Still-life compositions, by contrast, are considerably rarer.
A striking expression of the purity, balance and precision characteristic of Japanese art, the present flowering vase, rendered in gold lacquer against a black ground, is brilliantly illuminated and animated at its summit by an iris blossom with vivid red petals. Although exceedingly rare, two identical panels appear on a pair of corner cupboards dating to circa 1745, slightly later than the present commode, and stamped by Bernard van Risenburgh (BVRB), one of the greatest specialists in lacquer furniture. These corner cupboards also formed part of the Patiño collections. According to Thibaut Wolvesperges, the panels originally constituted the sides of a Japanese cabinet dating from the second half of the seventeenth century (op. cit., p. 263).
Such an appealing motif naturally inspired Parisian vernisseurs, who adapted it for use on other pieces of furniture. The celebrated lacquer commode mentioned above, supplied by the marchand-mercier Hébert to the Château de Fontainebleau for the cabinet de retraite of Queen Marie Leszczynska, provides a notable example. Its sides are each decorated with a flowering vase on a black ground executed in vernis parisien.
Highly decorative in character, Japanese lacquer panels representing flowering vases continued to adorn furniture of exceptional quality throughout the eighteenth century. One may cite the pair of low cabinets stamped by Nicolas Petit and dating from circa 1770, this time decorated with flowering vases fitted with handles (Sotheby’s Monaco, 19-20 June 1992, lot 696).
Original in its proportions, form and decoration, this elegant commode by Mathieu Criaerd (1689-1776) is unlike any other known example. Usually associated with the fully developed Louis XV style, characterised by generous curves and abundant gilt-bronze mounts, as exemplified by the Chinese lacquer commode by the same ébéniste offered in the present sale (lot 6), the present commode instead retains lines that still relate closely to the Régence style.
An Unpublished Model by Mathieu Criaerd
A close examination of the present commode strongly suggests that it emerged from Criaerd’s workshop shortly after he received his maîtrise in 1738. Its overall form provides the first indication. The façade is shaped en arbalète, a silhouette fashionable during the Régence period and largely abandoned by cabinet-makers during the subsequent reign. Furthermore, the rear legs are set wider apart than the front ones, giving the commode a trapezoidal appearance, another feature more commonly associated with the Régence period and the early years of Louis XV's reign. Charles Cressent (1685-1768) employed this configuration extensively, notably in his celebrated commodes à espagnolettes and commodes à palmes produced during the 1730s and early 1740s.
The ornament likewise suggests an early date within Criaerd’s œuvre. The escutcheon, whose design is perfectly symmetrical, together with the floral corner mounts and the sabots, all reflect a decorative vocabulary inherited from the Régence. A closely related Régence commode dating to circa 1730, comparable both in outline and in the placement of its mounts, was sold at Christie’s London, 4 July 1996, lot 370.
Finally, the choice of lacquer decoration further reinforces this sense of balanced composition characteristic of the Régence period. Each door on the façade is decorated with an identical flowering vase motif, responding perfectly to one another. This symmetrical arrangement, so closely associated with Régence taste, suggests that Mathieu Criaerd produced the present commode at a relatively early stage of his career. Although entirely different in style from the celebrated lacquer commode supplied in 1737 by BVRB for Queen Marie Leszczynska (1703-1768) and now preserved in the Musée du Louvre (inv. OA 11193), the present piece almost certainly ranks among the earliest commodes entirely sheathed in lacquer panels and appears to be previously unrecorded.
A Rare Example Decorated with Japanese Lacquer Panels Depicting Flowering Vases
The commode is veneered with four black-ground lacquer panels executed by Japanese lacquer artisans, linked together by European varnish of a matching tone. From the seventeenth century onwards, France imported Japanese lacquer through Dutch commercial networks, as Louis XIV’s kingdom had not yet established an East India company operating under the French flag.
The considerable collection of lacquer cabinets and coffers assembled by Cardinal Mazarin (1602-1661), comprising some sixty examples, attests to this trade before the 1660s. The inventory drawn up following his death in 1661 by the expert Pierre Lescot describes one panel, under no. 790, as depicting “a sort of square table upon which stands a large vase from which emerge branches of leaves and flowers [...]”. This description inevitably recalls the decoration found on the doors of the present commode.
Like the majority of lacquer panels incorporated into Parisian furniture, those on the present piece were originally taken from Japanese cabinets or coffers and subsequently reused by Parisian ébénistes. Since European trade with Japan declined significantly towards the end of the seventeenth century, it is highly probable that these lacquer panels themselves date from the seventeenth century.
Among Japanese lacquers, which were regarded by contemporary collectors as the finest, rarest and most expensive, the landscape scenes depicting mountains, lakes and villages found on the sides of the present commode are among the most common decorative subjects. Still-life compositions, by contrast, are considerably rarer.
A striking expression of the purity, balance and precision characteristic of Japanese art, the present flowering vase, rendered in gold lacquer against a black ground, is brilliantly illuminated and animated at its summit by an iris blossom with vivid red petals. Although exceedingly rare, two identical panels appear on a pair of corner cupboards dating to circa 1745, slightly later than the present commode, and stamped by Bernard van Risenburgh (BVRB), one of the greatest specialists in lacquer furniture. These corner cupboards also formed part of the Patiño collections. According to Thibaut Wolvesperges, the panels originally constituted the sides of a Japanese cabinet dating from the second half of the seventeenth century (op. cit., p. 263).
Such an appealing motif naturally inspired Parisian vernisseurs, who adapted it for use on other pieces of furniture. The celebrated lacquer commode mentioned above, supplied by the marchand-mercier Hébert to the Château de Fontainebleau for the cabinet de retraite of Queen Marie Leszczynska, provides a notable example. Its sides are each decorated with a flowering vase on a black ground executed in vernis parisien.
Highly decorative in character, Japanese lacquer panels representing flowering vases continued to adorn furniture of exceptional quality throughout the eighteenth century. One may cite the pair of low cabinets stamped by Nicolas Petit and dating from circa 1770, this time decorated with flowering vases fitted with handles (Sotheby’s Monaco, 19-20 June 1992, lot 696).
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA