- 82
A LOUIS XV GILT-LEAD AND SAINT-REMY MARBLE FOUNTAIN |
估價
40,000 - 60,000 EUR
Log in to view results
招標截止
描述
- Haut. 200 cm, larg. 110 cm, prof. 65 cm ; height 78 3/4 in., width 43 1/3 in., depth 25 1/2 in.
the group representing a swan with spread wings and flanked by a putto, a bouquet of reeds in the background, the fountain framed by two windings, the barrel simulating a bouquet of reeds
來源
B.B.S. Un Hommage, sold Sotheby's Paris, 30 June 2016, lot 93
出版
Comparative literatureAlastair Laing et Martin Meade, Drawings for Architecture, Design and Ornament, volume II, The James A. de Rothschild Bequest at Waddesdon Manor, The National Trust, Cambridge, 2006, p. 523-524, cat. n° 352
John Whitehead, Mobilier et Arts décoratifs en France au XVIIIe siècle, Paris, 1992, p. 86
John Whitehead, Mobilier et Arts décoratifs en France au XVIIIe siècle, Paris, 1992, p. 86
Condition
The photograph is quite accurate. As expected with this kind of piece, there are several chips along the edges of the marble elements and small restorations in places. The lead group with some wear to the gilding, a few inevitable dents and a crack under the wing. Needs to be installed with the help of a professional. Spectacular piece in good overall condition, consistent with age and use.
"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."
拍品資料及來源
The composition of the group surrounding the basin of our fountain is very close to that executed in 1784 by the sculptor Philippe-Laurent Roland (1746-1816) and bronzier Thomire for the Hall of Buffets of Louis XVI at the castle of Fontainebleau. This room called "Antichambre au col de Cygne" was subsequently incorporated into the Emperor's Little Apartments.This composition is inspired by the famous Recueil de Fontaines engraved by Gabriel Huquier the Elder after the drawings of François Boucher (1703-1771) and published in Paris in 1736. Much appreciated throughout the eighteenth century, this model was declined by Jean-Louis Prieur in a neoclassical version where two putti flank an antique urn. The drawing of Prieur is now preserved in the collections of Waddesdon Manor.
These fountains were placed in the eighteenth century in dining rooms or reception rooms. These pieces were the subject of the greatest attention in terms of decoration as evidenced in 1768 Philippe Marnet, a Parisian agent of the court of Parma: "these are the pieces where we strive to embellish the most richly that we can [...] ".
These fountains were placed in the eighteenth century in dining rooms or reception rooms. These pieces were the subject of the greatest attention in terms of decoration as evidenced in 1768 Philippe Marnet, a Parisian agent of the court of Parma: "these are the pieces where we strive to embellish the most richly that we can [...] ".