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拍品专文
This marvelous pair of stands were part of an elaborate multi-commission for a surtout de table and dessert service for Ferdinand-Philippe (1810-1842), duc d’Orléans and eldest son of King Louis-Philippe. While most renowned for his military acumen and diplomacy, he was also an important patron of the arts, often incorporating designs from the era's renowned artisans and animaliers.
The surtout was commissioned by the duc in 1834. It took over five years to complete, and the first tranche was delivered to his apartment in the Pavillon de Marsan at the Tuileries Palace 20 April, 1839. While much of his apartment in the Tuileries was furnished with works by celebrated makers such as and Jean-Henri Riesener and André-Charles Boulle, the duc championed a number of the emerging artists of his era. It was recorded he visited the 1839 Exposition des Produits de l’Industrie over twenty times, demonstrating his commitment to contemporary artists and in particular the advancement of the decorative arts in France. (D. Tenenbaum, “Le Sanctuaire du pavillon de Marsan,” p. 85).
The broader surtout was designed by Claude-Aimé Chenavard (d. 1838) and Jean-Baptiste-Jules Klagmann (d. 1867), cast by Jean-François Denière (d. 1866), and incorporated works by artists such as Antoine-Louis Barye and Jean-Jacques Feuchère. The total price of the surtout was estimated at 10,400 francs for Klagmann and Chenavard's designs and over 100,000 francs for Denière's labor. The incredible sum and the employ of various craftsmen underlines the duc’s support of the decorative arts, and is arguably the his most significant commission. The earliest known written record of the surtout dates from 1834 and was published in the journal L’Artiste. The article provides a rare description of the surtout, and records the approximate dimensions as an impressive twenty-one pieds long (ca. 268.53 in.) by five pieds wide (ca. 63.9 in.).
The present lot were part of twelve commissioned for the dessert service, which comprised forty-eight pieces in total. Executed by Jean-François Denière who described them simply as une assiette à deux rangs avec figures et ornaments. The rich ornamentation and design, coupled with the incorporation of semi-precious stones and glass typify the spirit of the surtout. The collaborative nature of the design of these works considered the duc’s personal interest in Renaissance and medieval art, as well as the individual oeuvre of the artists themselves. Claude-Aimé Chenavard, together with Jean-Jacques Feuchère, are primarily recognized for the revival of the Renaissance style in France, published Nouveau Recueil de Decorations intérieures between 1833 and 1835 composed of forty-two plates illustrating bronzes, furniture, tapestries and other manner of interior decoration (a copy formerly in the library of the duc d’Orléans is now in the Metropolitan Museum of art, acc. no. 60.686, M). These influences feature heavily in the present lot, with the classical depiction of Bacchus and music-making putti, the ornately chased balustrade and the baroque strapwork of the base.
In addition to the dessert stands, there were six gilt and silvered bronze tazze and fourteen eight-light candelabra. The base of the candelabra, like the present lot, were embellished with four seated putti, based on the designed of Feuchère, each holding musical instruments and mounted with hardstones. One of Chenavard’s designs is preserved in the Metropolitan Museum of art (58.601.4) and differs slightly from the final delivery. There are accounts of the duc receiving preparatory models of certain elements in the surtout, confirming his close involvement in the execution of the centerpiece.
The duc tragically died in 1842 in a carriage accident. At the time of his death, Denière was still working on the final components of the surtout, which he subsequently delivered to his widow, Duchesse Hélène of Mecklenburg-Schwerin (d. 1858). Denière exhibited approximately ten lots from the centerpiece, presumably borrowed from the duchesse, at the Exposition des Produits de l’Industrie in 1844. A drawing of one of the dessert stands from 1845 indicates they were on display with this selection. The duchesse sold the sumptuous surtout along with the contents of the duc’s collection in 1853. The centerpiece was divided and sold in several lots, most components offered in pairs or small groups. Denière himself purchased five lots, including a pair of dessert stands. In recent years, more components from the surtout have appeared for sale, including a three-piece garniture, sold Christie's, New York, 19 October, 2011, lot 160 ($104,500); a casket, sold Christie's, New York, 20 October, 2015, lot 198 ($269,000); and a pair of candelabra, sold Christie's, New York, 13 April 2017, lot 69 ($93,750).
The surtout was commissioned by the duc in 1834. It took over five years to complete, and the first tranche was delivered to his apartment in the Pavillon de Marsan at the Tuileries Palace 20 April, 1839. While much of his apartment in the Tuileries was furnished with works by celebrated makers such as and Jean-Henri Riesener and André-Charles Boulle, the duc championed a number of the emerging artists of his era. It was recorded he visited the 1839 Exposition des Produits de l’Industrie over twenty times, demonstrating his commitment to contemporary artists and in particular the advancement of the decorative arts in France. (D. Tenenbaum, “Le Sanctuaire du pavillon de Marsan,” p. 85).
The broader surtout was designed by Claude-Aimé Chenavard (d. 1838) and Jean-Baptiste-Jules Klagmann (d. 1867), cast by Jean-François Denière (d. 1866), and incorporated works by artists such as Antoine-Louis Barye and Jean-Jacques Feuchère. The total price of the surtout was estimated at 10,400 francs for Klagmann and Chenavard's designs and over 100,000 francs for Denière's labor. The incredible sum and the employ of various craftsmen underlines the duc’s support of the decorative arts, and is arguably the his most significant commission. The earliest known written record of the surtout dates from 1834 and was published in the journal L’Artiste. The article provides a rare description of the surtout, and records the approximate dimensions as an impressive twenty-one pieds long (ca. 268.53 in.) by five pieds wide (ca. 63.9 in.).
The present lot were part of twelve commissioned for the dessert service, which comprised forty-eight pieces in total. Executed by Jean-François Denière who described them simply as une assiette à deux rangs avec figures et ornaments. The rich ornamentation and design, coupled with the incorporation of semi-precious stones and glass typify the spirit of the surtout. The collaborative nature of the design of these works considered the duc’s personal interest in Renaissance and medieval art, as well as the individual oeuvre of the artists themselves. Claude-Aimé Chenavard, together with Jean-Jacques Feuchère, are primarily recognized for the revival of the Renaissance style in France, published Nouveau Recueil de Decorations intérieures between 1833 and 1835 composed of forty-two plates illustrating bronzes, furniture, tapestries and other manner of interior decoration (a copy formerly in the library of the duc d’Orléans is now in the Metropolitan Museum of art, acc. no. 60.686, M). These influences feature heavily in the present lot, with the classical depiction of Bacchus and music-making putti, the ornately chased balustrade and the baroque strapwork of the base.
In addition to the dessert stands, there were six gilt and silvered bronze tazze and fourteen eight-light candelabra. The base of the candelabra, like the present lot, were embellished with four seated putti, based on the designed of Feuchère, each holding musical instruments and mounted with hardstones. One of Chenavard’s designs is preserved in the Metropolitan Museum of art (58.601.4) and differs slightly from the final delivery. There are accounts of the duc receiving preparatory models of certain elements in the surtout, confirming his close involvement in the execution of the centerpiece.
The duc tragically died in 1842 in a carriage accident. At the time of his death, Denière was still working on the final components of the surtout, which he subsequently delivered to his widow, Duchesse Hélène of Mecklenburg-Schwerin (d. 1858). Denière exhibited approximately ten lots from the centerpiece, presumably borrowed from the duchesse, at the Exposition des Produits de l’Industrie in 1844. A drawing of one of the dessert stands from 1845 indicates they were on display with this selection. The duchesse sold the sumptuous surtout along with the contents of the duc’s collection in 1853. The centerpiece was divided and sold in several lots, most components offered in pairs or small groups. Denière himself purchased five lots, including a pair of dessert stands. In recent years, more components from the surtout have appeared for sale, including a three-piece garniture, sold Christie's, New York, 19 October, 2011, lot 160 ($104,500); a casket, sold Christie's, New York, 20 October, 2015, lot 198 ($269,000); and a pair of candelabra, sold Christie's, New York, 13 April 2017, lot 69 ($93,750).