Hôtel Lambert, Une Collection Princière, Volume III : À travers l’Hôtel Lambert
Hôtel Lambert, Une Collection Princière, Volume III : À travers l’Hôtel Lambert
A Dutch carved and gilt oak console table, after Daniel Marot, circa 1680-1700
Auction Closed
October 13, 06:27 PM GMT
Estimate
10,000 - 15,000 EUR
Lot Details
Description
A Dutch carved and gilt oak console table, after Daniel Marot, circa 1680-1700
the marble top above a base pierced and carved with Roman busts, rosettes, volutes, cartouches and decorative frieze; (re-gilt)
height 34 5⁄8 in.; width 55 1⁄8 in.; depth 23 5⁄8 in. 88 cm; 140 cm; 60 cm.
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Console en chêne sculpté et redoré d'époque Louis XIV d'après Daniel Marot, Pays Bas, vers 1680-1700
height 34 5⁄8 in.; width 55 1⁄8 in.; depth 23 5⁄8 in. 88 cm; 140 cm; 60 cm.
Please note that the lot is in late 17th style and is not sold as period.
Veuillez noter que ce lot ne date pas de la fin du XVIIe siècle mais est de style.
Koller Zurich, 22 March 2010, lot 1082.
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Koller Zurich, 22 mars 2010, lot 1082.
This console table belongs to a group of tables which are the most splendid examples of William and Mary furniture executed in the late 17th century. Inspired by French prototypes, they represent a new phase in Dutch furniture making which reflects characteristics of the mutual artistic influence between France and the Netherlands during the reign of Louis XIV. Numerous Dutch artists and artisans came to Paris to perfect their art and to keep abreast of the latest trends. Some of them settled in Paris and enjoyed the highest recognition, for example, Pierre Gole (born in Bergen near Amsterdam in 1620), the "menuisier en ébène" of the Sun King and also Alexandre-Jean Oppenordt, cabinet maker of the monarch, and especially André-Charles Boulle, whose father "Jean Bolt" came from the same Dutch province as Oppenordt.
The revocation of the Edict of Nantes in 1685 had the consequence of driving French Huguenots out. Daniel Marot (Paris 1663-the Hague 1752) fled north to settle in the Hague. Marot, an architect, furniture designer and engraver and pupil of Jean Le Pautre and son of architect Jean Marot (1620-1679), brought the fully developed Louis XIV court style to the Netherlands and later to London. In the end, the English style, which is loosely called "William and Mary," owed much to his manner. In the Netherlands, he was appointed as court dessinateur by the Stadholder, who later became William III of England. He is associated with designing interiors in the palace Het Loo, William's beloved hunting palace near Apeldoorn. In 1694, he travelled with King William to London where his activities have been concentrated at Hampton Court Palace. His works, as well as his designs for furniture and textiles, have been published by Marot in his 'medals' between 1703 and 1715. It shows his model of tables in 'goût francaise,' which were greatly inspired and marked by creations of Charles le Brun (1619-1690) and Jean l Bérain (1640-1711), especially by the motif of herms or full caryatid legs.
Console tables had existed in the Netherlands since the mid-17th century and were referred to as "kwabtafels." Kwab refers to the auricular style of ornaments adopted by Dutch silversmiths such as Johannes Lutma and the Van Vianen brothers in the beginning of the 17th century. Later this style was adopted into the designs of carved furniture, as table stands and hall benches (R. J. Baarsen, Nederlandse meubelen, 1600-1800, Rijksmuseum, Amsterdam, Zwolle, 1993, cat. no. 18, pp. 42-43). A kwab table as a stand of a chest has been sold in these rooms, Property from the Collection of Dodie Rosekrans, New York, December 8, 9, 2011, lot 357.
Characteristic elements of Marot deriving from his livres are found on the present table. These models developed by Marot broke away from this traditional Dutch ornament and introduced a fashion for architectural furniture thus far unknown. Characteristics of this console table include a perforated central cartouche, front legs in broken S-shape, the helmeted warriors, the curved shaped X-stretcher with bun feet. This table, as most of the others mentioned here under, can be easily dismantled. Each leg terminates in a block, into which the top frame and the bun feet can be fitted, while the five aprons are fixed to the frame. This particular form of construction could both help the gilder and allow for their transportation from house to house or a furniture making novelty. It is a feature also found in the construction of some very large eight-legged Louis XIV bureaux and amongst many other examples of furniture from the Netherlands.
Comparable examples all part of a closely related group of giltwood tables include:
- A table in the collection of H.M. Queen Beatrix of the Netherlands at Palace Huis ten Bosch near The Hague. This table is thought to have come from the palace of Honselaarsdijk. It incorporates a maiden seated on a camel in the apron, possibly an allegory of Asia, and may have been part of a set representing the Continents. It has slightly different carved ornament to the frieze and legs, which may be part of a 19th Century restoration (M. Loonstra, Het Huis Int Bosch, Zutphen, 1985, p. 136).
- A pair of tables in the gallery of Het Loo Palace in Apeldoorn (A. Vliegenthart, Het Loo Palace, Emmerich, 2002, p. 86, fig. 113). Similar to the table at Huis ten Bosch, these were acquired in the 1970's for the refurbishment of the palace. Marot had been involved in the renovation of het Loo for William III since 1686, and executed a design for a rectangular table with caryatid supports, together with a mirror and candlestand in 1700-01, which is illustrated in R. Baarsen in Courts and Colonies, New York/Pittsburg, 1988-89, p. 144, fig. 86.
- A table in Rijksmuseum, Amsterdam, which is again similar to the one at Huis ten Bosch and those at Het Loo. This table was acquired in the 1970s, and is also thought to have come from the palace at Honselaardijk.
- The parcel-gilt and blue-painted table, slightly related and reputedly executed by William Farnborough in 1692 for Queen Mary's water gallery at Hampton Court, Sold Sotheby's London, July 10, 1998, lot 87.
- A pair of tables, in shape and decoration virtually identical to the present example, which was sold from the collection of Comtesse Diane de Castellane, Sotheby's Monaco, December 9, 1995, lot 116 (to Didier Aaron). These tables share their unusual construction with the present table, which allows them to be entirely dismantled.
- A pair of tables, which was sold anonymously, Christie's London, July 5, 1984, lot 44.
- A matched pair of Dutch giltwood pier tables, late 17th century, which were sold as the Property of a Lady, Christie's London, June 12, 2003, lot 1110, formerly belonging to the collection of Mrs. Wakefield Saunders, London.
The revocation of the Edict of Nantes in 1685 had the consequence of driving French Huguenots out. Daniel Marot (Paris 1663-the Hague 1752) fled north to settle in the Hague. Marot, an architect, furniture designer and engraver and pupil of Jean Le Pautre and son of architect Jean Marot (1620-1679), brought the fully developed Louis XIV court style to the Netherlands and later to London. In the end, the English style, which is loosely called "William and Mary," owed much to his manner. In the Netherlands, he was appointed as court dessinateur by the Stadholder, who later became William III of England. He is associated with designing interiors in the palace Het Loo, William's beloved hunting palace near Apeldoorn. In 1694, he travelled with King William to London where his activities have been concentrated at Hampton Court Palace. His works, as well as his designs for furniture and textiles, have been published by Marot in his 'medals' between 1703 and 1715. It shows his model of tables in 'goût francaise,' which were greatly inspired and marked by creations of Charles le Brun (1619-1690) and Jean l Bérain (1640-1711), especially by the motif of herms or full caryatid legs.
Console tables had existed in the Netherlands since the mid-17th century and were referred to as "kwabtafels." Kwab refers to the auricular style of ornaments adopted by Dutch silversmiths such as Johannes Lutma and the Van Vianen brothers in the beginning of the 17th century. Later this style was adopted into the designs of carved furniture, as table stands and hall benches (R. J. Baarsen, Nederlandse meubelen, 1600-1800, Rijksmuseum, Amsterdam, Zwolle, 1993, cat. no. 18, pp. 42-43). A kwab table as a stand of a chest has been sold in these rooms, Property from the Collection of Dodie Rosekrans, New York, December 8, 9, 2011, lot 357.
Characteristic elements of Marot deriving from his livres are found on the present table. These models developed by Marot broke away from this traditional Dutch ornament and introduced a fashion for architectural furniture thus far unknown. Characteristics of this console table include a perforated central cartouche, front legs in broken S-shape, the helmeted warriors, the curved shaped X-stretcher with bun feet. This table, as most of the others mentioned here under, can be easily dismantled. Each leg terminates in a block, into which the top frame and the bun feet can be fitted, while the five aprons are fixed to the frame. This particular form of construction could both help the gilder and allow for their transportation from house to house or a furniture making novelty. It is a feature also found in the construction of some very large eight-legged Louis XIV bureaux and amongst many other examples of furniture from the Netherlands.
Comparable examples all part of a closely related group of giltwood tables include:
- A table in the collection of H.M. Queen Beatrix of the Netherlands at Palace Huis ten Bosch near The Hague. This table is thought to have come from the palace of Honselaarsdijk. It incorporates a maiden seated on a camel in the apron, possibly an allegory of Asia, and may have been part of a set representing the Continents. It has slightly different carved ornament to the frieze and legs, which may be part of a 19th Century restoration (M. Loonstra, Het Huis Int Bosch, Zutphen, 1985, p. 136).
- A pair of tables in the gallery of Het Loo Palace in Apeldoorn (A. Vliegenthart, Het Loo Palace, Emmerich, 2002, p. 86, fig. 113). Similar to the table at Huis ten Bosch, these were acquired in the 1970's for the refurbishment of the palace. Marot had been involved in the renovation of het Loo for William III since 1686, and executed a design for a rectangular table with caryatid supports, together with a mirror and candlestand in 1700-01, which is illustrated in R. Baarsen in Courts and Colonies, New York/Pittsburg, 1988-89, p. 144, fig. 86.
- A table in Rijksmuseum, Amsterdam, which is again similar to the one at Huis ten Bosch and those at Het Loo. This table was acquired in the 1970s, and is also thought to have come from the palace at Honselaardijk.
- The parcel-gilt and blue-painted table, slightly related and reputedly executed by William Farnborough in 1692 for Queen Mary's water gallery at Hampton Court, Sold Sotheby's London, July 10, 1998, lot 87.
- A pair of tables, in shape and decoration virtually identical to the present example, which was sold from the collection of Comtesse Diane de Castellane, Sotheby's Monaco, December 9, 1995, lot 116 (to Didier Aaron). These tables share their unusual construction with the present table, which allows them to be entirely dismantled.
- A pair of tables, which was sold anonymously, Christie's London, July 5, 1984, lot 44.
- A matched pair of Dutch giltwood pier tables, late 17th century, which were sold as the Property of a Lady, Christie's London, June 12, 2003, lot 1110, formerly belonging to the collection of Mrs. Wakefield Saunders, London.