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VERS 1730
细节
ARMOIRE BIBLIOTHÈQUE DU DÉBUT DE L'ÉPOQUE LOUIS XV
VERS 1730
En placage d'amarante et ornementation de bronze ciselé et doré, la façade à ressauts présentant deux portes à rideaux découvrant huit étagères, appliqués d'encadrements de frises d'entrelacs alternés de fleurettes, les côtés centrés de coquilles ajourées en rosaces et branchages fleuris découvrant deux séries de six étagères, les écoinçons ornés de feuillages et concrétions rocaille, les montants arrondis appliqués de cartouches ajourés de coquilles et d'entrelacs stylisés, reposant sur une plinthe
H. 282 cm. (111 in.) ; L. 297 cm. (116 ¾ in.) ; P. 46.5 cm. (18 1⁄3 in.)
VERS 1730
En placage d'amarante et ornementation de bronze ciselé et doré, la façade à ressauts présentant deux portes à rideaux découvrant huit étagères, appliqués d'encadrements de frises d'entrelacs alternés de fleurettes, les côtés centrés de coquilles ajourées en rosaces et branchages fleuris découvrant deux séries de six étagères, les écoinçons ornés de feuillages et concrétions rocaille, les montants arrondis appliqués de cartouches ajourés de coquilles et d'entrelacs stylisés, reposant sur une plinthe
H. 282 cm. (111 in.) ; L. 297 cm. (116 ¾ in.) ; P. 46.5 cm. (18 1⁄3 in.)
来源
Collection Abraham-Joseph Michelet, seigneur d'Ennery (1709-1786) ;
Sa vente, Paris, 11-15 décembre 1786 (5e jour de vacation), lot 240 ;
Galerie Marcel Bissey, Paris ; acquis en 1949 par
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
Sa vente, Paris, 11-15 décembre 1786 (5e jour de vacation), lot 240 ;
Galerie Marcel Bissey, Paris ; acquis en 1949 par
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
出版
R. Miliotti, Catalogue de tableaux de trois écoles […], du cabinet de feu M. d'Ennery, écuyer, Paris, 1786, pp. 56-57 et p. 76.
Bibliographie comparative :
A. Pradère, Les ébénistes français, de Louis XIV à la Révolution, Paris, 1989.
A. Pradère, Charles Cressent, sculpteur, ébéniste du Régent, Dijon, 2003.
Bibliographie comparative :
A. Pradère, Les ébénistes français, de Louis XIV à la Révolution, Paris, 1989.
A. Pradère, Charles Cressent, sculpteur, ébéniste du Régent, Dijon, 2003.
更多详情
AN EARLY LOUIS XV ORMOLU-MOUNTED AMARANTH ARMOIRE BIBLIOTHÈQUE, CIRCA 1730
On 15 December 1786, this bookcase was offered at auction in Paris, described as lot 240:
Une grande bibliothèque en bois des Indes en deux parties, à panneaux grillés en laiton, les côtés contournés ont chacun une porte pleine ; le tout est orné de petites moulures avec ornements et des agrafes dans les angles en bronze doré : ouvrage de Cressant, hauteur 8 pieds 8 pouces, largeur 9 pieds 5 pouces [281.5 x 305 cm].
Property of Abraham Joseph Michelet, Seigneur d'Ennery (1709–1786), the sale was organised following his death the same year. Exceptional in both its scale and grandeur, this imposing piece of menuiserie (joinery) was almost certainly executed as a specific commission, intended from the outset to form part of a bespoke interior scheme.
A CABINET-MAKER'S WORK CONCEIVED AS ARCHITECTURE
Although wall panelling (boiseries) fell within the domain of the menuisiers, certain pieces of ébénisterie (cabinetmaking) were designed to integrate seamlessly with the architectural decoration of a room. Such unified decorative schemes were often conceived by an architect or ornamental designer (ornemaniste), and the form and decoration of the present library strongly suggest such an origin.
Its highly architectural composition, articulated by the alternating rhythm of broad and narrow panels, closely recalls the cadence of French wall panelling. The large gilt-bronze rosettes centred on the panels are characteristic of carved boiseries produced at the end of the reign of Louis XIV and during the Régence, further suggesting the intervention of an architect or ornamental designer. The lower section, conceived in the manner of a plinth, and the projecting upper section, treated as a cornice, likewise borrow directly from architectural vocabulary. Finally, its exceptional dimensions support the hypothesis that it was intended to occupy the whole, or a substantial portion, of a wall. Charles Cressent is known to have produced a number of monumental library cabinets whose architectural forms and decorative vocabulary deliberately echoed contemporary boiseries, much like the present example.
THE QUESTION OF ATTRIBUTION
While still deeply rooted in the Régence aesthetic, the present cabinet belongs to the earliest years of the Louis XV period, incorporating ornamental motifs characteristic of the emerging Rococo style. Stylistically, it shares a number of features with the work of Charles Cressent, which almost certainly explains why it was catalogued as his work in the 1786 sale. The parquetry veneer arranged in diamond patterns using amaranth is a motif frequently employed by Cressent; comparable marquetry appears, for example, on the pair of corner cabinets formerly in the Rosebery Collection (Sotheby's, Mentmore, 19 May 1977, lot 513). Certain gilt-bronze mounts also closely resemble those found on documented works by Cressent, notably the pierced symmetrical rosette placed at the centre of the solid doors, which also appears on the two-door cabinet formerly in the collection of Mme de Polès (Galerie Georges Petit, 22 June 1927, lot 248).
Nevertheless, the more distinctly Louis XV character of the present cabinet suggests that its authorship may instead lie with one of the leading Parisian ébénistes working within Cressent's artistic circle. It is noteworthy that the 1786 sale catalogue itself records an alternative attribution. In the Feuille de distribution, the schedule of lots for the five sale sessions, lot 240 is listed simply as: "240. Grande bibliothèque, de Boulle." These early attributions demonstrate that, by the close of the eighteenth century, the exceptional quality of the cabinet was already widely recognised. Its distinguished provenance further reinforces its singular importance.
THE SEIGNEUR D'ENNERY: A DISTINGUISHED COLLECTOR AND CONNOISSEUR
A native of Lorraine, Abraham Joseph Michelet, Seigneur d'Ennery (1709-1786), was a numismatist, collector of engraved gems and bibliophile. Having served as écuyer and later Secretary to the King at the Parliament of Metz, he settled in Paris on the rue Neuve-des-Bons-Enfants in 1766. He was renowned among his contemporaries above all for his extraordinary medal collection, described by Mariette in the livre-journal de Lazare Duvaux (1965 ed., vol. I, p. XXXII) as "la plus complète et la mieux choisie qu'il y ait peut-être au monde" ("perhaps the most complete and best selected collection in existence"). Following his death, his collections were dispersed in three separate sales devoted respectively to paintings and antiquities, books, and medals. Like Louis, Duke of Orléans (1703-1752), whose medal cabinet by Charles Cressent, executed in 1740, is today preserved at the Bibliothèque nationale de France, the Seigneur d'Ennery housed his remarkable collection of 20,260 medals in four marquetry and gilt-bronze medal cabinets (lots 246–248 of the sale catalogue). The present library cabinet housed his important collection of books, which was the subject of a separate sale catalogue. Comprising 460 lots, the library was dispersed between 18 and 23 December 1786.
A final indication of the importance and reputation of d'Ennery's collection is found in the introduction to the first sale catalogue, which records that he also owned a group of sixty portraits by the celebrated seventeenth-century enamel painter Jean Petitot (1607–1691). Rather than being included in the auction, this remarkable ensemble was sold directly to the Comte d'Angiviller, Director-General of the Bâtiments du Roi (1774–1791), acting on behalf of Louis XVI. Described at the time as "cette suite des plus intéressantes & unique dans son genre" ("this most remarkable series, unique of its kind"), it remains preserved in its entirety today in the Musée du Louvre, Paris.
On 15 December 1786, this bookcase was offered at auction in Paris, described as lot 240:
Une grande bibliothèque en bois des Indes en deux parties, à panneaux grillés en laiton, les côtés contournés ont chacun une porte pleine ; le tout est orné de petites moulures avec ornements et des agrafes dans les angles en bronze doré : ouvrage de Cressant, hauteur 8 pieds 8 pouces, largeur 9 pieds 5 pouces [281.5 x 305 cm].
Property of Abraham Joseph Michelet, Seigneur d'Ennery (1709–1786), the sale was organised following his death the same year. Exceptional in both its scale and grandeur, this imposing piece of menuiserie (joinery) was almost certainly executed as a specific commission, intended from the outset to form part of a bespoke interior scheme.
A CABINET-MAKER'S WORK CONCEIVED AS ARCHITECTURE
Although wall panelling (boiseries) fell within the domain of the menuisiers, certain pieces of ébénisterie (cabinetmaking) were designed to integrate seamlessly with the architectural decoration of a room. Such unified decorative schemes were often conceived by an architect or ornamental designer (ornemaniste), and the form and decoration of the present library strongly suggest such an origin.
Its highly architectural composition, articulated by the alternating rhythm of broad and narrow panels, closely recalls the cadence of French wall panelling. The large gilt-bronze rosettes centred on the panels are characteristic of carved boiseries produced at the end of the reign of Louis XIV and during the Régence, further suggesting the intervention of an architect or ornamental designer. The lower section, conceived in the manner of a plinth, and the projecting upper section, treated as a cornice, likewise borrow directly from architectural vocabulary. Finally, its exceptional dimensions support the hypothesis that it was intended to occupy the whole, or a substantial portion, of a wall. Charles Cressent is known to have produced a number of monumental library cabinets whose architectural forms and decorative vocabulary deliberately echoed contemporary boiseries, much like the present example.
THE QUESTION OF ATTRIBUTION
While still deeply rooted in the Régence aesthetic, the present cabinet belongs to the earliest years of the Louis XV period, incorporating ornamental motifs characteristic of the emerging Rococo style. Stylistically, it shares a number of features with the work of Charles Cressent, which almost certainly explains why it was catalogued as his work in the 1786 sale. The parquetry veneer arranged in diamond patterns using amaranth is a motif frequently employed by Cressent; comparable marquetry appears, for example, on the pair of corner cabinets formerly in the Rosebery Collection (Sotheby's, Mentmore, 19 May 1977, lot 513). Certain gilt-bronze mounts also closely resemble those found on documented works by Cressent, notably the pierced symmetrical rosette placed at the centre of the solid doors, which also appears on the two-door cabinet formerly in the collection of Mme de Polès (Galerie Georges Petit, 22 June 1927, lot 248).
Nevertheless, the more distinctly Louis XV character of the present cabinet suggests that its authorship may instead lie with one of the leading Parisian ébénistes working within Cressent's artistic circle. It is noteworthy that the 1786 sale catalogue itself records an alternative attribution. In the Feuille de distribution, the schedule of lots for the five sale sessions, lot 240 is listed simply as: "240. Grande bibliothèque, de Boulle." These early attributions demonstrate that, by the close of the eighteenth century, the exceptional quality of the cabinet was already widely recognised. Its distinguished provenance further reinforces its singular importance.
THE SEIGNEUR D'ENNERY: A DISTINGUISHED COLLECTOR AND CONNOISSEUR
A native of Lorraine, Abraham Joseph Michelet, Seigneur d'Ennery (1709-1786), was a numismatist, collector of engraved gems and bibliophile. Having served as écuyer and later Secretary to the King at the Parliament of Metz, he settled in Paris on the rue Neuve-des-Bons-Enfants in 1766. He was renowned among his contemporaries above all for his extraordinary medal collection, described by Mariette in the livre-journal de Lazare Duvaux (1965 ed., vol. I, p. XXXII) as "la plus complète et la mieux choisie qu'il y ait peut-être au monde" ("perhaps the most complete and best selected collection in existence"). Following his death, his collections were dispersed in three separate sales devoted respectively to paintings and antiquities, books, and medals. Like Louis, Duke of Orléans (1703-1752), whose medal cabinet by Charles Cressent, executed in 1740, is today preserved at the Bibliothèque nationale de France, the Seigneur d'Ennery housed his remarkable collection of 20,260 medals in four marquetry and gilt-bronze medal cabinets (lots 246–248 of the sale catalogue). The present library cabinet housed his important collection of books, which was the subject of a separate sale catalogue. Comprising 460 lots, the library was dispersed between 18 and 23 December 1786.
A final indication of the importance and reputation of d'Ennery's collection is found in the introduction to the first sale catalogue, which records that he also owned a group of sixty portraits by the celebrated seventeenth-century enamel painter Jean Petitot (1607–1691). Rather than being included in the auction, this remarkable ensemble was sold directly to the Comte d'Angiviller, Director-General of the Bâtiments du Roi (1774–1791), acting on behalf of Louis XVI. Described at the time as "cette suite des plus intéressantes & unique dans son genre" ("this most remarkable series, unique of its kind"), it remains preserved in its entirety today in the Musée du Louvre, Paris.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA