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拍品专文
Jean-Baptiste Gourdin, maître in 1748
The elegant and sinuous design and generous proportion of these bergères is characteristic of Jean-Baptiste Gourdin’s most accomplished work executed during the early years of his career, circa 1748-60. They are obviously related to the monumental and boldly carved chairs executed by his father, Jean Gourdin (maître in 1714), known as Gourdin Père, in the same period, such as those from the collection of marquis de Voyer de Paulmy d'Argenson (1721-1782) at the château d'Asnières, see Christie’s, London, 9 July 2015, lot 4. The fluid, slightly restrained lines of the present bergères, here combined with small floral motifs and foliate trails to the seat-rails, are typical of the so-called rocaille symétrisé of the 1750s, see B. Pallot et al., 18th Century Birth of Design: Furniture Masterpieces, 1650 to 1790, exh. cat., Paris, 2014, p. 127, cat. 27.
THE GOURDIN FAMILY OF MENUISIERS
These bergères were executed by Jean-Baptiste Gourdin, as noted, son of the celebrated menuisier Jean Gourdin. The latter was appointed maître-menuisier in 1714 and established in the rue de Cléry by the sign of 'Saint Jacques'. Gourdin was patronized by the marquis de Bercy (1678-1742) and the duchesse de Mazarin whose residence on the rue de Varenne was redesigned by Nicolas Pineau circa 1737. Flourishing until 1764, Jean Gourdin employed two stamps during his long career. The first, I.G., served until circa 1748, when his son Jean-Baptiste joined his atelier at the sign of the 'Nom de Jesus', rue de Cléry. Thereafter he used the stamp PERE GOURDIN; his son using the stamp I. GOURDIN. A younger son, Michel Gourdin, maître in 1752, used the stamp M. GOURDIN.
The elegant and sinuous design and generous proportion of these bergères is characteristic of Jean-Baptiste Gourdin’s most accomplished work executed during the early years of his career, circa 1748-60. They are obviously related to the monumental and boldly carved chairs executed by his father, Jean Gourdin (maître in 1714), known as Gourdin Père, in the same period, such as those from the collection of marquis de Voyer de Paulmy d'Argenson (1721-1782) at the château d'Asnières, see Christie’s, London, 9 July 2015, lot 4. The fluid, slightly restrained lines of the present bergères, here combined with small floral motifs and foliate trails to the seat-rails, are typical of the so-called rocaille symétrisé of the 1750s, see B. Pallot et al., 18th Century Birth of Design: Furniture Masterpieces, 1650 to 1790, exh. cat., Paris, 2014, p. 127, cat. 27.
THE GOURDIN FAMILY OF MENUISIERS
These bergères were executed by Jean-Baptiste Gourdin, as noted, son of the celebrated menuisier Jean Gourdin. The latter was appointed maître-menuisier in 1714 and established in the rue de Cléry by the sign of 'Saint Jacques'. Gourdin was patronized by the marquis de Bercy (1678-1742) and the duchesse de Mazarin whose residence on the rue de Varenne was redesigned by Nicolas Pineau circa 1737. Flourishing until 1764, Jean Gourdin employed two stamps during his long career. The first, I.G., served until circa 1748, when his son Jean-Baptiste joined his atelier at the sign of the 'Nom de Jesus', rue de Cléry. Thereafter he used the stamp PERE GOURDIN; his son using the stamp I. GOURDIN. A younger son, Michel Gourdin, maître in 1752, used the stamp M. GOURDIN.