Tuesday, July 12, 2011

French Antiques:

BOULLE MARQUETRY FURNITURE:




18TH CENTURY LOUIS XV ORMOLU-MOUNTED AND BRASS BOULLE INLAID TORTOISESHELL STRIKING BRACKET CLOCK NICHOLAS LE NOIR, ARENNES. 1745
















Régence  gilt bronze mounted cut brass pewter and tortoiseshell bureau plat 19th century














      A large Régence  boulle bracket clock and bracket
                          French, 19th century Paris.1827











A GILT-BRONZE MOUNTED, EBONIZED, TORTOISESHELL BOULLE MARQUETRY BUREAU PLAT
                                                                                1840








18TH CENTURY REGENCE PERIOD ORMOLU-MOUNTED AND BRASS BOULLE INLAID TORTOISESHELL STRIKING BRACKET CLOCK. L. GODDE LAISNE PARIS 1720





Since the 17th century, the luxurious effect of Boulle marquetry has had an enduring appeal. First exploited as a technique by André-Charles Boulle in his work for the French Court during the reign of Louis XIV, the technique has always been associated with the most opulent and expensive designs. Boulle, himself a bronzier, pioneered the use of the exceptionally fine and bold gilt bronze mounts that give so many pieces such sculptural presence and classical association. But in the first decades of the 18th century, although still exploiting the rich contrast of the black of the ebony, the gold of gilded bronze and brass, silver-toned pewter and often red-coloured tortoiseshell in the marquetry, Boulle introduced the light, playful designs of the dessinateur de la Chambre et du Cabinet du Roi, Jean Bérain. Now the decorative surfaces were enlivened with the small-scale, lacy designs of playful singeries, garlands of flowers and airy architectural fantasies, all held together within delicate landwork.

During his own lifetime, Boulle was commissioned to make replicas of some of the great pieces made for both the King and the Court, sometimes only slightly altering the designs. After his death in 1732, Boulle's sons, who had been running the workshops since 1715, continued to produce pieces using their father's techniques and models, and demand for Boulle-marquetried furniture continued throughout the 18th century.  Boulle marquetry was  at the height of fashion in the time of Louis XVI when the style of the Sun King, Louis XIV, underwent a revival. From this time, great makers such as Levasseur and Baumhauer created their own versions of Boulle's originals and adapted the decorative techniques to furniture forms popular during their own time.
The taste among the great collectors for the styles of 'all the Louis' of course continued throughout the 19th century, and Boulle-style furniture held its popularity and prestige. Important makers, such as Sormani, Zwiener and Linke in France, turned their attention to copying or adapting the great pieces of the past. Many of these 19th century pieces took their places comfortably side by side with their predecessors from the 17th and 18th centuries. 







Sunday, April 24, 2011

The Banquet of Dido and Aeneas :


17th Century French Royal Aubusson Tapestry.

' The Banquet of Dido and Aeneas ' 




FRANCE
Le banquet donné par Didon en l'honneur d'Enée 

Tapisserie manufacture Royale d'Aubusson dernier quart du XVIIe siècle. Tenture de Didon et Enée d'après des modèles du peintre Isaac Moillon (1614-1673).
Dans la grande salle du palais de Carthage, les convives du festin sont installés. A droite Didon entoure de son bras l'enfant cupidon, à son coté Enée raconte les malheurs de Troie, puis sur la gauche Achate se fait servir à boire. Tapisserie entourée d'une belle bordure à décor de guirlandes de fleurs.
Signée en bas à droite “A fleurs de lys B” signifiant manufacture Royale d'Aubusson.
286 x 375 cm

Bibliographie : Tapisserie décrite par Mme Nicole de Reyniès dans son ouvrage sur Isaac Moillon « un peintre du roi à Aubusson »page 210 avec à la page 211 des reproductions en couleurs de plusieurs Tapisserie avec quelques variantes sur le même thème.
Somogy éditions d'art, musée départemental de la tapisserie Aubusson, juin 2005




















FRANCE
The feast given by Dido in favour of Aeneas
Tapestry fabricates Royal of Aubusson the last quarter of the XVIIth century. Curtain of Dido and Aeneas according to models of the painter Isaac Moillon (1614-1673).
In the big room of the palace of Carthage, the guests of banquet are installed. To the right Dido encircles with the arm the child Cupid, in his quoted Aeneas tells the misfortunes of Troy, then on the left Achate make serve for drinking. Tapestry encircled with a nice border with decor of garlands of flowers.
Signed down to the right “ A Fleurs de Lys B ” meaning Royal factory of Aubusson.
286 x 375 cm


Bibliography: Tapestry represented by Mrs Nicole de Reyniès in her work on Isaac Moillon « a painter of the King in Aubusson » page 210 with on the page 211 of the coloured reproductions of several tapestry with some variants on the same topic.
Somogy editions of art, departmental museum of the tapestry Aubusson, June, 2005



17th Century French Royal Aubusson Tapestry

' The Banquet of Dido and Aeneas '


                                                                 ( Le banquet donné par Didon en l'honneur d'Enée ) 




' The Banquet of Dido and Aeneas '

( 'A Fleurs de Lys B' )

“A fleurs de lys B” signifiant manufacture Royale d'Aubusson.


In the Iliad, Aeneas is the leader of the Trojan's Dardanian allies (Trojans — descendants of Dardanus), as well as a third cousin and principal lieutenant of Hector, son of the Trojan king Priam. In the poem, Aeneas' mother Aphrodite frequently comes to his aid on the battlefield; he is a favorite of Apollo. Aphrodite and Apollo rescue Aeneas from combat with Diomedes of Argos, who nearly kills him, and carry him away to Pergamos for healing. Even Poseidon, who normally favors the Greeks, comes to Aeneas' rescue after he falls under the assault of Achilles, noting that Aeneas, though from a junior branch of the royal family, is destined to become king of the Trojan people. Aeneas killed 28 people in the Trojan War.


The story of Dido and Aeneas is one of the world’s most tragic love stories, first described in Virgil’s Aeneid, then Marlowe’s Dido, Queen of Carthage and Henry Purcell and Nahum Tate’s opera Dido and Aeneas. Before Aeneas founded Rome, he was a Trojan soldier. When Troy fell, he left with his followers in seven ships. He was shipwrecked on the shores of Carthage, the great African city ruled by Queen Dido. Dido and Aeneas fell deeply in love, but the gods called Aeneas away to fulfill his destiny in Italy, and Dido was left heartbroken and alone. In her despair, she built a funeral pyre and committed suicide atop it.









Monday, February 7, 2011

French Antiques:

French Antiques:



18th century French Commode.


Originally, in French furniture, a commode introduced about 1700 meant a low cabinet, or chest of draws at the height of the dado rail (à hauteur d'appui). A commode, made by an ebeniste (cabinet-maker ) and applied with gilt bronze mounts, was a piece of veneered case furniture much wider than it was high, raised on high or low legs and with (commode à vantaux) or without enclosing drawers. The piece of furniture would be provided with a marble slab top, selected to match the marble of the chimney piece. A commode occupied a prominent position in the room for which it was intended: it stood against the pier between the windows, in which case it would often be surmounted by a mirror glass, or a pair of identical commodes would flank the chimneypiece or occupy the center of each end wall. Bombé commodes, with surfaces shaped in three dimensions were a feature of the rococo style called "Louis Quinze" (Louis XV).







REGENCE PERIOD COMMODE
(1715 - 1723)




 REGENCE PERIOD COMMODE
(1715 - 1723)










LOUIS XV PERIOD COMMODE
(1730 - 1775)



LOUIS XV PERIOD COMMODE
(1730 - 1775)










LOUIS XV STYLE COMMODE
(19th century)





LOUIS XV STYLE COMMODE
(Late 19th century)


Friday, January 28, 2011

Hong Kong Blues:

Im setting setting up a 'Parisian' style apartment in Singapore.... Being in Asia, I thought I would incorporate some Asian pieces, to fit in with the French Antiques.  The problem with a lot of the Asian pieces, they tend to be a little bulky, where the French pieces have softer lines & a better quality finish.

Thats why most of the Chinoiserie pieces form Europe are French or English, but have Asian characteristics or themes....

So, Im looking more or less for statement pieces.....

Where do we start ?  Where else, but Hong Kong.....


1st. Im going to need a good driver.......





2nd.  get to know your surroundings.......... 






3rd. Most important know what your looking for......








Which in this case, Ive decided on 'Ming Dynasty' vases

& a life size 'Buddha' statue.....




Which for me was this 18th Century statue of Guanyin..... 

( Guanyin is the Bodhisattva associated with compassion.  Guanyin is usually as a female,
Guanyin is short for 'Guanshiyin' which means observing the cries of the world.