from friday 14 september 2012 to sunday 23 september 2012
from 11 am to 8 pm
until 11 pm on tuesday 18, thursday 20 and sunday 22 september 2012
until 6 pm on sunday 23 september 2012
Gala ‘s diner
wednesday 12 september 2012
thursday 13 september 2012
David Roentgen, Master in 1780 is justly renowned as one of the most gifted cabinet-makers of the XVIIIth century.
He was the son of the wellknown cabinet-maker Abraham Roentgen who was established in Neuwid, in Germany. He rapidly became more famous than is father and decided to sell his pieces of furniture to the most important courts of Europe.
A medallion with roses and bouquets decorates the middle of a raspberry “caisson” ground. A frieze of vine leaves forms a delicate internal border, and a wider border is composed of a frieze of griffons, baskets of fruit and volutes.
Origin : Axminster Carpet Factory (England)
Period : First quarter of the 19th century
Technique : Hand knots
Material : wool velvet on a linen weft and cotton warp
757 x 554 cm
24 ft 10 in x 18 ft 2 in
Grand tapis velouté au point de la Savonnerie.
Il est composé d’un large compartiment central bordé aux extrémités de deux demi-rosaces bleues en ailes de chauve-souris.
Il possède un décor pompéien d’arabesque et de palmettes sur un fond noir. Il est encadré de bordures à motif de palmettes noires sur un fond d’ocre rouge pompéien, avec une double bordure bleue d’un côté et verte de l’autre. Les motifs ainsi que les bandes sont en velouté sur fond noir qui est ras.
Epoque : Louis XVI, circa 1788-1789.
Manufacture : Royale d’Aubusson
Dimensions : 396 X 675 cm. 12 ft 9 in. X 22 ft 1 in.
Architecte : François-Joseph Bellanger (1744-1818)
• 1774, Anne-Victoire Dervieux Salon de musique de l’Hotel Dervieux, rue de la Victoire.
• 1793, Comte Vilain XIIII (Belge)
• 1800, Anne-françoise Elysabeth Lange (actrice)
• 1802, Hortense de Beauharnais et Louis Bonaparte
Un tapis presque identique est conservé au Mobilier National. Il porte le N° d’inventaire 7070. Sa structure et sa qualité sont similaires, mais il est en très mauvais état : il comporte une découpe de cheminée et une embrasure ou bordure supplémentaire à décor de palmettes.
A side console table in ebony with two drawers
It is decorated with a Chinese lacquer panel depicting Japanese flowering cherries on the stretcher. The front of the apron is embellished with a European lacquer imitating this Chinese panel. The table stands on four octagonal legs in ebony, tapered at the bottom.
It has a fine ormolu decoration on the tops of the legs, in the shape of the roof of a Chinese pagoda, and the gallery around the stretcher adorned with a frieze of the Chinese character “pinyin” (symbolizing, in Chinese Buddhism, the achievement of the “ten thousand merits” that promise Nirvana). The top is in white marble.
Period: Louis XVI, circa 1785
This console can be compared with the furniture made by the cabinetmakers Martin Carlin, Adam Weisweiler and Claude-Charles Saunier for the marchand-mercier Dominique Daguerre towards the end of the 18th century.
Height 87.6 cm. 2 ft 10 1/2 in.
Width 134.6 cm. 4 ft 5 in.
Depth 40.6 cm. 1 ft 4 in.
Secretaire with a flap, drawer and door. It has pronounced architectural features and is adorned with fluted pilasters. The panels are decorated with reliefs in European lacquer, over a black background, in imitation of Japanese lacquers. These lacquers, of an exceptionally high quality, made use of oxidation techniques on silver leaves, with the help of oxidizing agents, in order to obtain different colours. These lacquer panels depict genre scenes peopled with musicians and other characters in a landscape with pagodas, trees, bouquets, …
The chiselled ormolu decoration consists of the bronze gallery embellished with draperies, friezes of beads, … It stands on four tapered and fluted legs. The top is in white veined marble.
Period: Louis XVI
Attribution: Louis Foureau
The Musée Carnavalet in Paris and the Musée de Reims own two pairs of corner cupboards in European lacquer made by Louis Foureau.
Height 130 cm 51 in
Width 50 cm 19 3/4 in
Depth 30 cm 11 3/4 in
Flat marquetry writing table in citruswood and rosewood.
Beautiful chiseled ormolu ornamentation such as a vase with flowers, angle drapings, etc.
The apron has two drawers that open on the front and a sliding shelf on one of the sides.
Four legs sheathed in marquetry and decorated with ormolu.
Period: Louis XVI
Attribution: workshop of M.G. Cramer, named master on September 4, 1771
Provenance: Mrs. Derek Fitzgerald Collection
Bibliography: Alexandre Pradère. Les Ebénistes français de Louis XIV à la Révolution. Editions du Chêne. Paris, 1989, p. 325, fig. 371.
Height 71,5 cm. 28 1/4 in.
Width 130 cm. 51 1/4 in.
Depth 64 cm. 25 1/4 in.
Chandelier with 18 lights in crystal and finely chiseled and gilded bronze. It is composed of two circles of fillets bordering a frieze of laurels and flowerets separated by eight arrows, joined at the centre by a blue enameled globe and scattered with gilt stars. The basket ends with a rose and a seed-shaped knob. A panache and small palm leaves crown the chandelier from which hang garlands of crystals.
Period: Empire, circa 1810
Crystal: by Ladoupède du Fougerais, entrepreneur and owner of the Mont-Cenis crystal works.
Ladoupède du Fougerais delivered a very similar chandelier with 16 lights on 24 April 1810, for the small salon of the apartments of the Empress at the Petit Trianon in Versailles. This chandelier is illustrated in Versailles, le Petit Trianon”, by Denise Ledoux-Lebard, published by Editions de l’Amateur, 1989, p. 95, n° 61.
Height 117 cm 3 ft 10 in
Diameter 81 cm 32 in
A pair of egg-shaped vases in African breccia marble mounted in bronze. A fine ormolu ornamentation, such as the handles, Bacchus masks supporting a chain and the cover decorated with foliage. The vases stand on a square ormolu base and piedouche.
Period: late 18th century
Height 51.5 cm. 20 1/4 in.
Width 27 cm. 10 5/8 in.
Period : Louis XVI, circa 1770
Bronzesmith : attributed to Jean Charles Delafosse (1734-1789)
Provenance : Etienne Levy Collection
Bibliography : F.J.B. Watson, The Wrightsman Collection, Vol. II, published by The Metropolitan Museum of Art, a similar vase is reproduced on page 483, n° 272, A and B.
Middle vase: Height: 27 cm
Width: 18 cm
Side vases Height: 25 cm
Width: 9.5 cm
Chinise set mounted in Bronze (suite)
A set consisting of three oviform vases in Chinese porcelain, with a red ground and gold highlights, and gilded and chiselled bronze.
The middle vase is decorated with houses arranged in a landscape. The neck is highlighted with aquatic leaves topped by a striated band. The handles are formed of Greek friezes linked together by a big garland of entwined laurels, and joined to the bottom part to form the feet, which are also embellished with palmettes.
The two smaller vases are accentuated by a decoration of peonies surrounded by foliage. The neck, in gilded bronze, is adorned with gadroons and has rings holding a chain. The handles represent masks of old men. The circular piedouche is finely fluted and bordered by rinceaux. The base has hollowed-out sides and is embellihed with striated plaques.
A pair of vases similar to the middle one belongs to the Wrightsman Collection.
This panel is composed of pieces of silk in different colours, sewn together, mounted on a canvas and highlighted with paint.
The scene depicts an episode from « The Story of Joseph »: Joseph nominated as Governor by the Pharoah and First Intendant. It is taken from the Book of Genesis, Chapter 42:
…. The seven years of abundance came to an end, and the seven years of famine began in Egypt. There was famine in all the lands, but in the whole land of Egypt there was food.
Now when Jacob saw that there was corn in Egypt, he said unto his sons Behold, I have heard that there is corn in Egypt : get you down thither, and buy for us from thence ; that we may live, and not die. But Benjamin, Joseph’s brother, Jacob sent not with his brethren.
And the sons of Israel came to buy corn among those that came … And Joseph knew his brethren, but they knew him not. Using his authority he treated them as spies but they defended themselves by talking about their family.
Then Joseph secretly commanded to fill their sacks with corn, and to restore every man’s money into his sack, and to give them provision for the way. Then he bound Simeon and he said to them: Bring your youngest brother unto me, then shall I know that ye are no spies, but that ye are true men; so will I deliver you your brother, and ye shall traffick in the land.
And they came unto Jacob their father unto the land of Canaan, and told him all that befell unto them.
The scene is probably inspired by an engraving.
The borders are typical of the ornamental motifs of the second School of Fontainbleau, as seen, for example, on the fireplaces of the Château d’Ecouen.
Period: France, late 15th century, early 16th century.
Height 189 cm.
Width 383 cm.
Big round mahogany and palissandre (Brazilian rosewood) dinning room table.
A ridged bronze circles the massive mahogany tray.
Just under, a Greek frieze and rectangles in diamond point shape, decorate the massive palissandre belt.
The table rests on eight baluster feet surmounted by an ionic capital garnished with chiseled and gilded bronzes.
Period : XIX° century, circa 1850-1860
Hight. 81 cm. 2 ft. 3/4
Diam. 193 cm. 6 ft 1/4
Open 378 cm. 12 ft. 1/2
You can add 4 leaves of 1 ft. 6 1/2 large.
Pair of grey colored painted corner settees.
Wavy line backrest.
Floral engravings on the top and bottom frame, as well as on the armrest and the undulated feet.
Stamped : N. Heurtaut, Master in 1755.
Period : Louis XV, circa 1760
Provenance : family tradition dictates that it is said to have belonged to Madame du Barry.
• P. Kjellberg, « Le Mobilier Français du XVIII° Siècle », 1989, p. 404, fig. B (only one settee is shown).
Large 150 cm 59 in
Depth 115 cm 45 1/2 in
A set of eight flat-back chairs from the Empire and Louis-Philippe period, in sculpted and gilded wood, having a rectangular back with a pleated-ribbon decoration, an apron adorned with roses, and sabre legs.
Two chairs are stamped Jacon D.R. Meslée. They were supplied by Georges Jacob and François Honoré Jacob (known as Jacob Desmalter), for the theatre at the Petit Trianon in 1810.
Six chairs are stamped Jacob for Georges-Alphonse Jacob. They match the above-mentioned chairs and were ordered by Louis-Philippe.
The two chairs stamped Jacob-D-RMeslée are marked « Trianonspectacle 1810 » in ink with the following numbers:
• PT 1363 (in red ink of the inventory of 1834)
• 5688 (in black ink of the inventory of 1839)
• T 4573 (of the inventory of 1855)
Four chairs stamped Jacob bear the firemark of the Château d’Eu and the two others are marked Dreux.
The two Empire chairs :
Height 91 cm 36 in
Width 37 cm 14 1/2 in
The six Louis-Philippe chairs
Height 91 cm 36 in
Width 38 cm 15 in
The invoice of the first two chairs supplied by Jacob-Desmalter and the upholsterer François-Louis CASTELNAUXDARRAC, dated 25 July 1810, is worded as follows :
« 50 chaises en bois d’hêtre mise au couleur d’acajou,
couvertes en velours d’Utrecht bleu à larges raies,
galon faux or et clous dore lentille. Bois d’une haise
Pour l’appui du pourtour, l’avoir dégarni et regarni plus
fort. Total du premier pourtour; 2,824.82 » (D. Ledoux-
Lebard, Le Petit Trianon, 1989, p. 222)
DARRAC, who died in 1862, was one of the leading upholsterers of the early 19th century. He carried out many orders for the imperial residences (D. Ledoux-Lebard, Les ébénistes du XIX°, 2nd edition, p. 146).
The Theatre was originally called the Petit Théatre. Marie-Antoinette was responsible for having it built in 1778-1780, like the other houses of her retreat at the Petit Trianon. The theatre was designed by Richard Micque in the « antique » style.
In 1809, Napoleon decided to renovate the theatre for his second wife, Empress Marie-Louise. The fabric used by the upholsterer Darac was replaced by one in crimson red.
In 1837, Louis-Philippe renovated the Petit Trianon for his son the Duc d’Orléans, and these chairs seem to have been made at that time and were later transported to the Château d’Eu and the Chapel of Dreux (D. Ledoux-Lebard, op. cit., p. 364).
A console and mirror in brass and ebony marquetry, chiseled and gilded bronze, amethyst and carnelian, bearing the monogram of the Duc Ferdinand-Philipe d’Orléans (1810-1842).
The marquetry consists of brass and pewter on an ebony ground, decorated with scrolls and volutes of acanthus leaves.
The back of the console has a raised medallion in the middle repeating the general decoration.
The base is made of ebony veneer.
Carnelian beads and amethyst cabochons form part of the decoration.
The ormolu ornamentation includes animal masks, cord-like friezes, beads and frames.
The top is in green marble with white veins.
The console and mirror bear the monogram of the Duc d’Orleans, surmounted by the ducal crown held by two cherubs.
Period: Paris, circa 1835-1839
Attributed to Louis-Alexandre Bellangé (born after 1797)
The Duc Ferdinand-Philipe d’Orléans (1810-1842)
The Duc Ferdinand-Philipe d’Orléans, a royal prince and the eldest son of Louis-Philippe, lived in the Pavillon de Marsan at the Tuileries Palace. Constantly in search of the best artistic achievements, the Duke actively involved the Bellangé family in the vast programme to redecorate the Tuileries between 1834 and 1840. The Duc bought several pieces of furniture made by Louis-Alexandre Bellangé at the Exposition des Produits de l’Industrie in 1834 and 1839.
The Duke died at the age of 32 in an accident with his barouche.
Height 99 cm. 3 ft 3 in.
Width 127 cm. 4 ft 2 in.
Depth 56 cm. 1 ft 10 in.
Height 166 cm. 5 ft 3 in.
Width 121 cm. 3 ft 11 ½ in.
Manufacture: Royale de la Savonnerie, after drawings by François Desportes
• Collection of Madame Dubernet Douine at the Château de Boissière,
Pair of Louis XV screens (contd)
Bibliography: « The Savonnerie », Pierre Verlet, Catalogue of the Rothschild collection in Waddesdon Manor, p. 85 and ill. p. 301.
Height 145 cm. 4 ft. 9 in.
Width (of each leaf) 65 cm. 25 1/2 in.
A pair of screens in Savonnerie.
Each of the four leaves is adorned with birds and animals on a blue background, with brown for the decorative frames. The decoration consists of eagles, owls, parrots, ducks and pheasants. The background is decorated with foliage, rivers, flowers, cornucopia and still lifes. Five of the decorative frames are embellished with arabesques and foliage and the other three with leaves and flowers. The two panels depicting parrots are repeated at the ends of the two screens.
Identical screens can be seen in the Nissim de Camond Museum (cat. n° 141), the National Collections Nationales and the Rothschild collection.
The drawings for these different panels are the work of Desportes. The watercolour study for the two birds of prey is in the archives of Sèvres.
These panels were woven at the Manufacture de la Savonnerie between 1719 and 1738.
About 100 leaves for this type of screen have been produced. Most of the screens were made up of six leaves and some of them were embellished on both sides. It is estimated that a maximum of about a dozen screens of this model were created during this period.
Verlet makes a distinction between big screens designed for ceremonial rooms, mainly anti-chambers, which were usually quite simple, and small screens intended for private rooms and therefore more richly decorated, sometimes matching the furniture in the room.
A large rectangular mirror in lacquer, with a pediment decorated with scenes of Japanese inspiration. It is decorated with garlands, birds, figures, grid patterns and reserves in red and gold lacquer on a black and blue-green background.
The pediment is topped by a shell in the middle, with a reserve beneath it portraying a scene of musicians. The corners are adorned with arabesques and grid patterns.
Period: Berlin, circa 1725
Attributed to the circles of Gerhard Dagly (active in Berlin until 1713)
Gerhard Dagly became famous around the 1680s as the Kammerkünstler of Frederick William, Prince Elector of Brandenburg (died in 1715).
Dagly became the Intendant of Ornaments at the court of Frederick III, Prince Elector of Brandenbourg, who subsequently became Frederick Ist of Prussia.
Gerhard Dagly and his brother Jacques supplied Frederick 1st and his court with furniture of an outstanding quality reflecting the prevailing taste for the Japanese style.
GERMAN MIRROR IN POLYCHROME LACQUER (contd)
• W. Holzhausen , Lackkunst in Europa, Munich, 1982, pp. 198-199, fig. 146-147, illustrates a jardinière by Gerhard Dagly decorated in the same spirit.
• H. Huth, Lacquer Work by Gerhard Dagly, Connoisseur, vol.95, 1935, p. 14)
Height 165 cm. 65 in.
Width 109 cm. 43 in.
Period: Empire, circa 1813
Manufacture: Fabry et Utzschneider et Compagnie, Sarreguemines, awarded the Gold Medal at the Salon des Produits de l’Industrie in 1809.
Pierre-Maximilien Delafontaine (1777-1860)
Height 210 cm. 6 ft 10 ¾ in.
Width 35.5 cm. 1 ft 2 in.
Pair of columns from Sarreguemines (contd)
Each column is composed of a base in veined green marble and five ceramic elements joined together by a steel rod. The top is surmounted by a Medicis vase.
A pair of similar columns was offered by the city of Dieppe to Empress Josephine and is now in the Marmottan Museum in Paris. Two pairs can be seen in the Château de Fontainebleau, two pairs at the Palazzo Reale in Naples and others at the cathedral of Trier (Germany).
A similar pair, with basins, is in the Grand Salon of the Palais de l’Elysée on the ground floor, echoing two Sarreguemines vases made with the same technique.
Dossier de l’Art N° 23, L’Elysée, Histoire et Décors depuis 1720, April/May 1995, p. 71.
In 1800 Nicolas Jacoby sold his shares of the company to Joseph Fabry and to Paul Utzschneider, a Bavarian who had settled in Strasbourg. An excellent ceramist, he introduced to Sarreguemines techniques that he had observed in England during a study trip. His production attracted attention at national exhibitions where he won numerous gold medals. His stoneware, imitating hard stone, was appreciated by Emperor Napoleon 1st who ordered 22 vases and eight pairs of columns of two different models in 1812.
Fine polished stoneware
Stoneware is a hard paste ceramic fired at a high temperature (1200/1300°), during which it undergoes natural vitrification. The paste is composed of a mixture of clay and sand.
Experiments on the technique of fine polished stoneware were conducted towards 1800.
It imitates hard stones, such as jasper, porphyre and marble.
This type of production was very expensive and was therefore
Period: Louis XV
Attributed to Adrien Delorme, received as Master in 1748
Marks: chalk inscription 3356 twice plus a paper label with an inscription and N°7
• Baron Lionel de Rothschild (1809-1879),
• His son, Baron Léopold de Rothschild (1845-1917),
• His son, Baron Lionel de Rothschild (1882-1942),
• Baron Edmund de Rothschild (born in 1916),
• Frank Partridge & Sons, end of the 1940s
• Blackwell collection.
Commode by Delorme (contd)
Pierre Verlet, Les Ebénistes du XVIIIème Siècle Français, 1963, p. 116
Height 86.5cm. 2 ft 10 in.
Width 145 cm. 4 ft 9 in.
Depth 68 cm. 2 ft 2 in.
This commode has a sinuous form and is curved on all sides.
It has two drawers without a rail.
It has a rosewood veneer arranged in an inlaid frieze of flowers in wood tinted in green, yellow and pink.
On the front, this marquetry pattern is enclosed in a large cartouche in the middle, outlined by a gilded bronze frame arranged on reserves of amaranth wood. The cartouche is flanked on both sides by two panels that echo each other, which are also surrounded by reserves in amaranth wood encircled by a gilded bronze frame.
The cartouche in the middle is asymmetrical, and is composed of palms, rinceaux of leaves, openwork rocaille and shells enclosing the keyholes and the drawer handles formed of scrolls of foliage for the bottom drawer and of dragons for the top drawer.
The main cartouche, asymmetrical in shape, is superimposed by another larger and more rectilinear one outlined by a finer bronze frame.
The bottom is embellished with an asymmetrical apron ornament formed of palms, acanthus leaves and small flowers.
Commode by Delorme (contd 2)
The asymmetrical vertical mounts at the corners have an openwork pattern with an ornamentation of rocaille, palms and foliage, prolonged by a reed on the crest of the legs falling down to the leafy feet
The sides are embellished with a similar marquetry arranged in a central quadrilobate medallion outlined by a bronze ornamentation of palms, rinceaux of foliage and openwork rocaille over a ground of amaranth wood, framed by four spandrels in rosewood inlaid with flowers, the whole surrounded by an ornamentation in gilded bronze.
All the crests of the apron and the feet are marked by reeds in gilded bronze. Marquetry reserves highlight the front stiles just above the legs.
The top is in Sarrancolin marble with an ogee edging.
This commode belongs to a small group of highly similar commodes all decorated on the front with a large asymmetrical cartouche and spectacular drawer handles in the shape of dragons, attributed to Delorme on the basis of the example at the Petit Palais in Paris, which bears his signature.
A recent restoration has revealed the mark of Pierre Roussel, who was received as Master 1748.
This could imply that Delorme, acting as a merchant-cabinetmaker, might be the person who ordered this commode, of which he was the author and owner of the model, and that Roussel merely executed it.
A similar commode, stamped by Delorme, belonged to the Matthew Schutz collection.
Another one belonged to Lady Jane Douglas and another to Mrs. Price.
The latter was part of the collections of the Grand Duc et Margrave de Bade.
Commode by Delorme (contd 3)
Son of the Master-Cabinetmaker François Delorme (who died in 1768), Adrien Delorme, belonged to a line of craftsman whose original name was Faizelot. His brothers Jean-Louis and Alexis were also master-cabinetmakers. He was received as Master in 1748 and left his father’s workshop in rue Tiquetonne to move to rue du Temple where he established himself as a merchant-cabinetmaker. He was one of the best cabinetmakers during the reign of Louis XV and was a juryman of his guild from 1768 to 1770. He earned his reputation thanks to his highly original and superb marquetry. One of his favourite ornamental motifs is composed of very sinuous rinceaux inlaid alone on a ground of a chevron-patterned veneer in sharp contrasts of light and darker wood He also had a strong inclination for Chinese and Japanese lacquers, as well as European varnishes imitating those of China and Japan. According to Pierre Verlet, « His works are among the most audacious in the rocaille style of the Louis XV period ».
Furniture bearing his mark can be found in major public and private collections, in particular, the Louvre, the Musée du Petit Palais, in Paris, the Jean-Paul Getty Museum in Malibu and Waddesdon Manor near London.
Oil on canvas.
This painting depicts a young nude woman in the woods. She is standing in a so-called “Venus” posture, with her arms raised behind her head and her body in slight contraposto, with the right leg slightly bent.
Painter: Henri Gervex (1852-1876)
Signature: “H. GERVEX” on the left at the bottom
Exhibition: Salon of 1876, Palais des Champs-Elysées, 1st May 1876, no. 887 of the Exhibition.
Bibliography: This painting is in the Catalogue Raisonné of the Work of Henri Gervex, currently being prepared by Jean-Christophe Pralon-Gourvennec.
Size: 209 x 95 cm 82 1/4 x 37 1/3 in
The preparatory drawing for this picture is in the Palais des Beaux-Arts in Lille, under the inventory number W 2988, SPBD83.
Henri Gervex exhibited “In the Woods” and “Autopsy at the Hôtel Dieu” at the Salon of 1876. He won a medal, which placed him “out of competition” and also gave permanent access to future Salons without having to pass before the Jury.