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路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs  

2016-06-02 15:37:19|  分类: 美术绘画 |  标签: |举报 |字号 订阅

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路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs - 文铮 - 柳州文铮
路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs - 文铮 - 柳州文铮
 
路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs - 文铮 - 柳州文铮
 
路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs - 文铮 - 柳州文铮
 
路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs - 文铮 - 柳州文铮
 
路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs - 文铮 - 柳州文铮
 
Antoine-Fran?ois Callet - Louis XVI, roi de France et de Navarre (1754-1793), revêtu du grand costume royal en 1779 - Google Art Project.jpg

路易十六椅子Louis XVI, circa 1776 -1789, together with four later chairs - 文铮 - 柳州文铮
Marie Antoinette Queen of France with her three eldest children, Marie-Thérèse, Louis-Charles and Louis-Joseph. By Marie Louise ?lisabeth Vigée-Lebrun
法国的玛丽·安托瓦内特皇后和她的三个孩子老大,玛丽 - 特雷瑟,路易 - 查尔斯和路易斯约瑟夫。由玛丽·路易莎伊丽莎白Vigée,勒布伦

物业的绅士,再加上地段15,70,71,72和73
A的白色皇家套房和灰色彩绘家具座位由G.雅各和J.B.塞内加盖了王子和公主去罗汉-Guéméné和夫人伊丽莎白的城堡蒙特勒伊,凡尔赛发
路易十六,大约1776-1789,一起四把椅子后面
估计13万 - 18万英镑
 大量销往。 181250英镑(成交价与买方保费)
PROPERTY OF A GENTLEMAN, TOGETHER WITH LOTS 15, 70, 71, 72 AND 73
A Royal suite of white and grey painted seat furniture stamped by G. Jacob and J.B. Sené made for the Prince and Princess de Rohan-Guéméné and Madame Elisabeth for the Ch?teau de Montreuil, Versailles
Louis XVI, circa 1776 -1789, together with four later chairs
Estimate     130,000 — 180,000  GBP
 LOT SOLD. 181,250 GBP (Hammer Price with Buyer's Premium)
A的白色皇家套房和灰色彩绘家具座位由G.雅各和J.B.塞内加盖了王子和公主去罗汉-Guéméné和夫人伊丽莎白的城堡蒙特勒伊,凡尔赛发
路易十六,大约1776 -1789,一起四把椅子后面
包括两个扶手椅和十个椅,扶手椅和四把椅子加盖G.雅各,两把椅子加盖塞内,每个沙发背部在上述范围内downscrolled填充武器扭曲带状雕刻框架拱形软垫雕刻着高于皮阿斯特和叶板支撑鞠躬软垫座椅,座椅导轨与双绞线丝带图案上滚动爵床叶每条腿上面刻一个patera凹槽cabriole腿TOUPIE脚终止,与同样刻帧椅;在塞内椅子标签之一:“前卫杜家具展投资回报率,Gauffier,doreur,新市区蒙马特,凡尔赛宫,伊丽莎白夫人,1793年”。


读条件报告
门市部通知
种源
王子和公主去罗汉-Guéméné,设定1776年至1783年间投产,包括八个扶手椅和十把椅子,为拉格兰德沙利马槽里,城堡蒙特勒伊,凡尔赛宫的一部分。
伊丽莎白夫人法国(路易十六的妹妹),城堡蒙特勒伊,凡尔赛宫。
记录在1788蒙特勒伊库存伊丽莎白夫人(档案馆国家国家01 349),如下所示:
“HUIT fauteuilssculptés财富peints连接皮诺等相思garnis等顶桥连接的Tapisserie等等漩涡装饰德Fleurs酒店河畔喜欢相思。” “的Onze躺椅同上帕雷尔喜欢去的Tapisserie等...à疫médaillons德Fleurs酒店河畔喜欢相思。”
“八雕刻的扶手椅漆成灰色和白色......包括在挂毯......花奖章白底”
“十一椅......同样的覆盖。”
伊丽莎白夫人在1789年委托进行的进一步的14把椅子。
集合G.
Billout - 德马雷销售,巴黎,1923年6月1日,很多67

赏析
比较文学
J.尼古拉,艺术与主机柜制造商法国十八世纪的样子,巴黎,1976。
P. verlet的,皇家家具法国1963年。
C.P. Wiegandt,法国家具过渡/路易十六,1995年,巴黎。
这套椅子和扶手椅是作为记录在具有两个连续的佣金豆类份额大的用餐室蒙特勒伊。

第一委员会是由罗汉-Guéméné恩特雷里奥斯鉴于1776 1783(八扶手椅和十把椅子雅各G.),以及另一本由伊丽莎白夫人,板条正由SENE在1789年交付,十四谁增加了更多的肉,原来的佣金。 1782年,乔治·雅各布出现作为一位罗汉,Guéméné暗示阙乐先交付和佣金实际上是由雅各布执行的债权人,这是??由肉体存在的德子邮票证实。椅子是由塞内加盖在1789年的份额。因此,第二委员会。
该成就的设计和精致的雕刻与雅各布的风格完全一致。座椅导轨的圆形内缘是一个技术设备魁他似乎具备特别被收藏,虽然进行相反的它被用于让 - 巴蒂斯特 - 克劳德·塞内。这种不寻常的拱形边后卫(“气球”形状)是由雅各布一些椅子的发现,例如见尼古拉,运出一把椅子。前,p。 228,图重复的一套在凡尔赛宫为路易十六的餐厅由让 - 巴蒂斯特Boulard和塞内提供50漆成灰色餐椅C.背部的轮廓(P. verlet的,同上第127页,板33) 。雅各一个非常类似的一套十二把椅子,可能是委托在城堡Maisons酒店孔德D'阿图瓦被出售,苏富比,摩纳哥,1999年6月18日,很多127。
可比的椅子雅各布在装饰艺术,巴黎博物馆和枫丹白露博物馆,看到Wiegandt C. P.,同前。前,p。 36。
一对翼椅到不同型号的皇后,然而,进行相反在1789年通过SENE在城堡蒙特勒伊伊丽莎白夫人的“宠物沙龙”交付,魁现在在卢浮宫,巴黎。
乔治·雅各布(1739年至1814年)。
让 - 巴蒂斯特 - 克劳德·塞内(1748年至1803年),有时也被称为JB SENE老人。
该城堡蒙特勒伊:
蒙特勒伊建于约1776公主维克多(1843至07年)和路易王子亨利·德·罗汉-Guéméné,蒙巴公爵(1745至1809年)。王子被任命法国的侍从路易十六和公主,皇家儿童的教师。两人在蒙特勒伊并在巴黎奢华住在酒店去罗汉-Guéméné,位于一个孚日广场。 1782年,他们被宣布破产以33万英镑的债务。他们的财产被出售,包括酒店去罗汉-Guéméné及其在蒙特勒伊城堡。五月1783年,继Guéméné的王子和公主的破产,路易十六连同ICT快乐购这种蒙特勒伊并赋予它一个儿子,最小的妹妹伊丽莎白夫人(1764年至1794年)。
公主会花她的大部分日子那里,返回,晚上到凡尔赛宫。当她是25,国王允许她居住在蒙特勒伊全职。伊丽莎白是深刻的宗教和极端投入到她的兄弟国王,拒绝婚姻的所有优惠,这样她可能会保持在他身边。虽然她有很多机会离开法国,她的事与路易十六,玛丽皇后和他们的孩子被监禁在法国大革命时期。她共享所有的屈辱与艰辛和被判处死刑,并送上断头台5月9日1794年在他的夫人伊丽莎白(1869)A.de Beauchesne形容伊丽莎白夫人的生活在蒙特勒伊如下生命册上道:“生活中,她...导致有像在一座城堡中最快乐的家庭千里从巴黎的工作时间,运动,读书,在公司金孤独,仔细任命,晚餐小时brought`公主和她的宫女在一起的勒即使得到表。(......)之后,返回到院前,他们会全部跪下在客厅,并符合在一些遗属的习惯,本来晚上一起祈祷,然后他们将返回忙碌的宫殿,在曾经那么近,如此遥远,并进入他们的官方家里有一个快乐的日子充满了工作的内存,以减轻情谊,祈祷和奉献。“
乔治·雅各布(1739年至1814年):
他当了学徒到chairmaker让?? - 巴蒂斯特Lerouge在那里,他把路易Delanois,谁先进的新古典主义的味道是有雅各有很大的影响。他接受了在他的工作室9月4日1765年硕士,他雇了许多专门雕刻和gilders。他退休于1796年离开他的画室在手中去儿子的声音,其中一人是弗朗索瓦·奥诺雷 - 乔治·雅各Desmalter(1770年至1841年)。当他 - 其他他去世后,雅各从退休回到了监督摆设了拿破仑的住宅不断供应。 Delanois早年去世后,雅各在他的领域唯一担心的政敌当时让 - 巴蒂斯特 - 克劳德·塞内。
让 - 巴蒂斯特 - 克劳德·塞内(1748年至1803年),有时也被称为J.B.Sené老人:
他是克劳德和塞内的儿子是这个家庭的木匠最有名的成员。他拥有美国东部师傅当devenu他还在1769年5月10日六个月很年轻后他ouvert他在街的克莱理自己建立。他的技术意味着立即认可和成功,并在1785年他被任命为供应商冠,然后通过菜单Plaisirs用来制造家具路易十六和玛丽 - Antointette和在法国皇室贵族的成员 - 其他法国法院。
他Hauré的领导下,一般工作,与各种雕刻家瓦卢瓦,洛朗,亚历山大,雷尼尔和卡介苗的合作。大多数去儿子的工作是由丰富的雕刻区分,并发现当今许多世界领先的博物馆 - 卢浮宫装饰艺术博物馆和博物馆尼辛Camondo在巴黎和维多利亚和阿尔伯特博物馆和艺术,新的大都会博物馆纽约及其他。
 

见目录说明在sothebys.com
CATALOGUE NOTE
COMPARATIVE LITERATURE                                                    
J. Nicolay, L'Art et La Manière des Ma?tres Ebénistes Fran?ais au XVIIIe Siècle, Paris, 1976.       
P. Verlet, Le Mobilier Royal Fran?ais, 1963.  
C.P. Wiegandt, Le Mobilier Fran?ais Transition/Louis XVI, Paris, 1995.
This set of chairs and armchairs are recorded as having been part of two successive commissions for la grande salle à manger at Montreuil.

The first commission was given by the Rohan-Guéméné between 1776 and 1783 (for eight armchairs and eleven chairs by G. Jacob), and the second one by Madame Elisabeth, the latter being delivered by Sené in 1789, who added fourteen more chairs to the original commission. In 1782, Georges Jacob appeared as one of the creditors of the Rohan-Guéméné suggesting that the first delivery and indeed the commission was executed by Jacob, this is confirmed by the presence of his stamp on the chairs. The chairs stamped by Sené are therefore part of the second commission in 1789. 
The accomplished design and refined carving is entirely consistent with Jacob's style. The rounded inner edge of the seat-rail is a technical device which he appears to have particularly favoured, although it was also used by Jean-Baptiste-Claude Sené. The unusual arched backs ("Montgolfière" shape) are found on a number of chairs by Jacob, see for example a chair illustrated by Nicolay, op. cit., p. 228, fig. C. The outline of the back is repeated on the set of fifty grey-painted dining chairs supplied by Jean-Baptiste Boulard and Sené for Louis XVI's Dining Room at Versailles (P. Verlet, op. cit. p.127, plate 33). A very similar set of twelve chairs by Jacob, probably commissioned for the Comte d' Artois at the Ch?teau de Maisons was sold, Sotheby's, Monaco, 18th June 1999, lot 127. 
Comparable chairs by Jacob are in the Musée des Arts Décoratifs, Paris and in the Museum of Fontainebleau, see C.P. Wiegandt, op. cit., p. 36. 
A pair of bergères à la reine, of a different model, however, was also delivered in 1789 by Sené for the 'Salon de compagnie' of Madame Elisabeth in the Ch?teau de Montreuil, which are now in the Louvre, Paris.
Georges Jacob (1739-1814).
Jean-Baptiste-Claude Sené (1748-1803), sometimes known as J.-B. Sené l'a?né.
The Ch?teau de Montreuil:
Montreuil was built in around 1776 for Princess Victoire (1743 - 1807) and Prince Henri Louis de Rohan-Guéméné, duc de Montbazon (1745 - 1809). The Prince was appointed Grand Chamberlain of France by Louis XVI and the Princess, Governess of the Royal Children. The couple lived lavishly in Montreuil and in Paris at the H?tel de Rohan-Guéméné, located on Place des Vosges. In 1782, they were declared bankrupt with a debt of 33 million livres. Their properties were sold, including the H?tel de Rohan-Guéméné and their castle at Montreuil. In May 1783, following the bankruptcy of the Prince and Princess of Guéméné, Louis XVI purchased Montreuil together with its contents and gave it to his youngest sister Madame Elisabeth (1764-1794).
The princess would spend most of her day there, returning for the night to the ch?teau de Versailles. When she was twenty-five, the King allowed her to reside at Montreuil full time. Elisabeth was deeply religious and extremely devoted to her brother the King, refusing all offers of marriage so that she might remain by his side. Although she had many opportunities to leave France, she chose to be imprisoned with Louis XVI, Marie-Antoinette and their children during the French Revolution. She shared all of their humiliations and hardships and was condemned to death and guillotined on 9th May 1794. In his book Vie de Madame Elisabeth (1869) A.de Beauchesne described Madame Elisabeth's life in Montreuil as follows: "...The life she led there was like that of the happiest family in a castle a hundred leagues from Paris. The hours for work, for exercise, for reading, in solitude or in company, were carefully appointed. The dinner hour brought the Princess and her ladies together at the same table. (...) Later, before returning to court, they would all kneel down in the drawing-room, and in conformity to the habit surviving in some families, would have evening prayers together. Then they would return to the busy palace, at once so near and so remote, and enter their official home with the memory of a happy day filled with work, lightened by friendship, and consecrated by prayer."              
Georges Jacob (1739-1814):
He was apprenticed to the chairmaker Jean-Baptiste Lerouge where he met Louis Delanois, whose advanced neoclassical taste was to have a great influence on Jacob. He was received Master on 4th September 1765. In his workshop, he employed numerous specialist carvers and gilders. He retired in 1796, leaving his workshop in the hands of his sons, one of whom was Fran?ois-Honoré-Georges Jacob-Desmalter (1770–1841). When his other son died, Jacob returned from retirement to oversee the constant supply of furnishings for Napoleon's residences. After Delanois's early death, Jacob's only serious rival in his field was Jean-Baptiste-Claude Sené.
Jean-Baptiste-Claude Sené (1748-1803), sometimes known as J.-B.Sené l'a?né:
He was the son of Claude Sené and was the most celebrated member of this family of menuisiers. He became a ma?tre when he was still quite young on 10th May 1769 and six months later he opened his own establishment in the rue de Cléry. His skill meant instant recognition and success and in 1785, he was appointed fournisseur de la Couronne and then was employed by the Menus-Plaisirs to make furniture for Louis XVI and Marie-Antointette and for other members of the French Royal family and aristocracy at the French Court. 
He worked generally under the direction of Hauré and collaborated with a variety of sculptors such as Vallois, Laurent, Alexandre, Regnier and Guérin. Most of his work is distinguished by rich carving and is found today in many of the world's leading museums-the Louvre, the Musée des Arts Décoratifs and the Musée Nissim Camondo in Paris and the Victoria and Albert Museum and the Metropolitan Museum of Art, New York, amongst others.
 

See catalogue note at sothebys.com

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