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A CARVED GILTWOOD FIRESCREEN, LOUIS XVI, BY JEAN-BAPTISTE SENÉ, THE SCULPTURE BY ALEXANDRE RÉGNIER, UNDER THE DIRECTION OF JEAN HAURÉ, DELIVERED IN 1787 FOR KING LOUIS XVI AT THE CHÂTEAU DE SAINT-CLOUD, REGILT |
Estimate
70,000 - 100,000 EUR
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Description
- Haut. 120 cm, larg. 81 cm, prof. 45 cm ; height 47¼ in., width 31¾ in., depth 17⅔ in.
the carved upper frame centred with the head of Athena wearing a helmet with an owl, flanked by rosettes and scrolls ending in lion masks, above egg and dart and fluting, the stiles with entwined berried laurel leaf fasces ending with rosettes and lion masks, on four scrolled acanthus leaf and lion paw feet, the lower frame centred by allegories of Trade and Prudence, caduceus and a mirror with a snake; with a double sided silk screen
Provenance
- By Jean-Baptiste Sené and Alexandre Régnier under the direction of Jean Hauré for King Louis XVI's Bedroom at the Château de Saint-Cloud in 1787;
- Emperor Napoleon's Bedroom at the Palais des Tuileries in 1807;
- Transferred to the Garde-Meuble impérial in 1808
- Emperor Napoleon's Bedroom at the Palais des Tuileries in 1807;
- Transferred to the Garde-Meuble impérial in 1808
Exhibited
- Le Cabinet de l'Amateur, Orangerie des Tuileries, Paris, February - April 1956, n° 223
Literature
- Saint-Sère, « Le Cabinet de l'amateur et la mode », in Plaisir de France, n°210, April 1956, p. 45 (ill.)
- P. Verlet, Le mobilier royal français, vol. I, Paris, 1990, n° 36, pp. 100-104, pl. L-LI (ill.)
- P. Verlet, Le mobilier royal français, vol. IV, Paris, 1990, n° 46, pp. 167-169 (ill.)
- Le Cabinet de l'Amateur, exh. cat. Orangerie des Tuileries, Paris, 1956, n° 223, p. 65 RELATED LITERATURE
- B. Chevallier, Saint-Cloud, le palais retrouvé, Paris, 2013
- P. Verlet, Le mobilier royal français, Paris, 1945, n° 36, pp. 100-104 and pl. L-LI
- P. Verlet, Le mobilier royal français, vol. I, Paris, 1990, n° 36, pp. 100-104, pl. L-LI (ill.)
- P. Verlet, Le mobilier royal français, vol. IV, Paris, 1990, n° 46, pp. 167-169 (ill.)
- Le Cabinet de l'Amateur, exh. cat. Orangerie des Tuileries, Paris, 1956, n° 223, p. 65 RELATED LITERATURE
- B. Chevallier, Saint-Cloud, le palais retrouvé, Paris, 2013
- P. Verlet, Le mobilier royal français, Paris, 1945, n° 36, pp. 100-104 and pl. L-LI
Condition
The photograph is accurate. As notified in the catalogue, it has been regilt. The giltwood is now with a little wear on the most exposed areas and with small inevitable chips throughout the surface, especially on the feet. On top of the screen, a very tiny piece of laurel leaf is broken and missing; there is a construction crack between the feet on one side, underneath the screen (not distracting). On both sides of the screen, the carving is exceptionally lavish and refined. As expected, the fabric is slightly worn, with scattered tears. Beautiful and documented piece of furniture in good overall condition, with both royal (Louis XVI) and imperial (Napoleon) provenance.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
In his book on the history of French Royal furniture, Pierre Verlet devoted himself to studying, in great detail, the sumptuous furniture within the King's Chamber at the Château de Saint-Cloud which was built in 1787, with the carpentry by Jean-Baptiste Sené and the sculpture by Alexandre Régnier. A few years after the publication of his book and probably due to loans for the “Le Cabinet de l’amateur” exhibition at the Orangerie in 1956, where the Comte de Ribes lent many works including the famous “Clock with Negress” and this fire screen, Pierre Verlet was able to add to his initial research and republished an in-depth study in 1990.
The 1789 inventory of the Château de Saint-Cloud details very precisely a piece of furniture (set of carpentry wares comprising matching furniture including: a bed, a pair of large armchairs, twelve folding chairs, a folding screen, our fire screen and a stepladder) describing martial iconography with warrior attributes and military trophies.
“The wood for the armchairs, folding chairs, folding screen and fire screen are all sculpted, namely: the wood on the armchair, with back legs in the form of fasces adorned with laurel leaf, spike and cannonball, the centre of the rail with a Minerva head and laurel leaf branches, rounded shield, the rest is composed of Ionic capitals, crowns, water-leaves, ropes, acanthus leaves, rosettes, volutes, grooves, lion heads, etc. ; wood on X-frame chair and cross beams with lion heads and egg and dart pattern, water-leaves, grooves, and beads, brackets, rood beams, crowns and lion paws, cross beams are adorned with a rounded shield, Apollo’s head, laurel leaf crown and branches in the centre; the wood on the folding screen, fire screen is analogous to the earlier noted wooden chairs.”
Jean-Baptiste Sené was in charge of furniture, as attested by his memoir:
“8bre (October) 87. The 4. N 2. Saint-Cloud. For the service of the King. (...)
- The carpentry of a bed with 2 bedside tables (...) 700 L.
- For the bed model (...) 48 L.
- For change (...) 54 L.
- A wood-veneered stepladder (...) 16 L.
- The carpentry of two large armchairs prepared in walnut wood (...) 48 L.
- The carpentry of twelve folding chairs (...) 252 L.
- A folding screen of 6 wood-veneered panels (...) 27 L.
- A screen with hats, made of walnut, prepared to be richly sculptured, the feet brackets assembled in two parts ......................... 30 L.”
Terracotta and wax scale models were needed prior to the final fabrication of the furniture, Martin had provided Sené a “model of armchair and screen in wax to instruct the execution ........ 72 L.”
Hauré, who supervised all the production entrusted most of the sculpture to Alexandre Régnier:
Memoire by Hauré. 1st semester 1788. Saint-Cloud. Month of 8th. 4. N 1st. for the King's Bedroom.
“For the sculpting of the King's bed (...)
- Alexandre (Reignier) - For sculpting the whole bed, paid ...... 1.356 L.
- Alexandre - For the sculpting of the two large armchairs analogue to the bed .... 336 L.
- Alexandre, eleven; Vallois, a - 12 X-shaped folding chairs, analogue to armchairs .... 1.152 L.
- Alexandre - A square screen analogue to the bed; on the top rail, Minerva head and branches of lilies, uprights in bundles, cross rails embellished with the attributes of Prudence and Wisdom, feet brackets with lion claws, very rich allover ...... 216 L.”
Chatard undertook the gilding: “the golden gilt burnished with great care” was estimated at the price of 4,860 livres.
The upholsterer Capin was in charge of the fabrics which were woven in Lyon.
“Order no. 2. From 4. 8bre (October) 1787. Capin will make for the Sleeping Chamber for the King a furniture with gros de Tours embroidered white ground, arabesque flowers pattern (...).”
Desfarges had the “white gros de Tours embroidered with arabesques for the summer” made for 56,538 livres, this expenditure concerned all furniture items, the curtains and doors. Silks were often the largest expense, while the lace maker, Fizelier's accessories were more costly than carpentry and sculpting combined, and as much as the gilding.
After the torment of the Revolution and its use by Napoleon I during his early reign, this suite of furniture was reinstated into the Garde-Meuble (Royal Household) in 1808. It was transferred to the Château de Fontainebleau in 1839 for the bedroom of the Duc d’Orléans, where it was completed. The bed underwent transformations by Michel-Victor Cruchet, a screen was renovated, four chairs and two other armchairs were made under Louis-Philippe to complete the set. Pierre Verlet praised the skill of the artisans who made the additions, the armchairs were made to the model and present minimal differences to the carved ornaments. On the other hand, due to the missing model, the screen has had a freer and less precise interpretation. The motif with the attributes of Prudence and Wisdom so delicately carved along the bottom of the framework of the original screen was replaced on the reworked screen, with the Apollo head cartouche which is on the headboards of the bed and the front crossbar of the armchairs. The bed, armchairs and four chairs are now kept in the bedroom of Pope Pius VII at the Château de Fontainebleau (Figs 4 and 5) while part of the panel of one screen is in the Louvre Museum.
The 1789 inventory of the Château de Saint-Cloud details very precisely a piece of furniture (set of carpentry wares comprising matching furniture including: a bed, a pair of large armchairs, twelve folding chairs, a folding screen, our fire screen and a stepladder) describing martial iconography with warrior attributes and military trophies.
“The wood for the armchairs, folding chairs, folding screen and fire screen are all sculpted, namely: the wood on the armchair, with back legs in the form of fasces adorned with laurel leaf, spike and cannonball, the centre of the rail with a Minerva head and laurel leaf branches, rounded shield, the rest is composed of Ionic capitals, crowns, water-leaves, ropes, acanthus leaves, rosettes, volutes, grooves, lion heads, etc. ; wood on X-frame chair and cross beams with lion heads and egg and dart pattern, water-leaves, grooves, and beads, brackets, rood beams, crowns and lion paws, cross beams are adorned with a rounded shield, Apollo’s head, laurel leaf crown and branches in the centre; the wood on the folding screen, fire screen is analogous to the earlier noted wooden chairs.”
Jean-Baptiste Sené was in charge of furniture, as attested by his memoir:
“8bre (October) 87. The 4. N 2. Saint-Cloud. For the service of the King. (...)
- The carpentry of a bed with 2 bedside tables (...) 700 L.
- For the bed model (...) 48 L.
- For change (...) 54 L.
- A wood-veneered stepladder (...) 16 L.
- The carpentry of two large armchairs prepared in walnut wood (...) 48 L.
- The carpentry of twelve folding chairs (...) 252 L.
- A folding screen of 6 wood-veneered panels (...) 27 L.
- A screen with hats, made of walnut, prepared to be richly sculptured, the feet brackets assembled in two parts ......................... 30 L.”
Terracotta and wax scale models were needed prior to the final fabrication of the furniture, Martin had provided Sené a “model of armchair and screen in wax to instruct the execution ........ 72 L.”
Hauré, who supervised all the production entrusted most of the sculpture to Alexandre Régnier:
Memoire by Hauré. 1st semester 1788. Saint-Cloud. Month of 8th. 4. N 1st. for the King's Bedroom.
“For the sculpting of the King's bed (...)
- Alexandre (Reignier) - For sculpting the whole bed, paid ...... 1.356 L.
- Alexandre - For the sculpting of the two large armchairs analogue to the bed .... 336 L.
- Alexandre, eleven; Vallois, a - 12 X-shaped folding chairs, analogue to armchairs .... 1.152 L.
- Alexandre - A square screen analogue to the bed; on the top rail, Minerva head and branches of lilies, uprights in bundles, cross rails embellished with the attributes of Prudence and Wisdom, feet brackets with lion claws, very rich allover ...... 216 L.”
Chatard undertook the gilding: “the golden gilt burnished with great care” was estimated at the price of 4,860 livres.
The upholsterer Capin was in charge of the fabrics which were woven in Lyon.
“Order no. 2. From 4. 8bre (October) 1787. Capin will make for the Sleeping Chamber for the King a furniture with gros de Tours embroidered white ground, arabesque flowers pattern (...).”
Desfarges had the “white gros de Tours embroidered with arabesques for the summer” made for 56,538 livres, this expenditure concerned all furniture items, the curtains and doors. Silks were often the largest expense, while the lace maker, Fizelier's accessories were more costly than carpentry and sculpting combined, and as much as the gilding.
After the torment of the Revolution and its use by Napoleon I during his early reign, this suite of furniture was reinstated into the Garde-Meuble (Royal Household) in 1808. It was transferred to the Château de Fontainebleau in 1839 for the bedroom of the Duc d’Orléans, where it was completed. The bed underwent transformations by Michel-Victor Cruchet, a screen was renovated, four chairs and two other armchairs were made under Louis-Philippe to complete the set. Pierre Verlet praised the skill of the artisans who made the additions, the armchairs were made to the model and present minimal differences to the carved ornaments. On the other hand, due to the missing model, the screen has had a freer and less precise interpretation. The motif with the attributes of Prudence and Wisdom so delicately carved along the bottom of the framework of the original screen was replaced on the reworked screen, with the Apollo head cartouche which is on the headboards of the bed and the front crossbar of the armchairs. The bed, armchairs and four chairs are now kept in the bedroom of Pope Pius VII at the Château de Fontainebleau (Figs 4 and 5) while part of the panel of one screen is in the Louvre Museum.