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A set of four Louis XV gilt-bronze termes "aux quatre saisons", circa 1730
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Description
A set of four gilt-bronze termes "aux quatre saisons", first half of the 18th century, attributed to the workshop of André-Charles Boulle and his sons<br><br>(4)<br><br>Height. from 11 1/2 in to 13 in<br><br>------------------------------------------------------------------<br><br>Série de quatre termes "aux quatre saisons" en bronze doré, première moitié du XVIIe siècle, attribuées à l'atelier d'André-Charles Boulle et de ses fils<br><br>(4)<br><br>Haut. de 29 cm à 33 cm<br><br>Literature<br><br>Références bibliographieus<br><br>F. Souchal, <i>French Sculptors of the 17</i><sup><i>th</i></sup><i> and 18</i><sup><i>th</i></sup><i> centuries. The reign of Louis XIV</i>, Oxford, 1981, t. I, p. 128-129, et p. 32.<br><br>Catalogue note<br><br>The theme of the Four Seasons appeared widely in the decorative arts at the end of the 17th century, inspiring ornamentalists such as Jean Bérain. It is often found in the architectural form of the terms used in the uprights of cabinet feet (see the one attributed to the Manufacture des Gobelins in the Musée des Arts Décoratifs in Strasbourg, the designs for the Cabinet de la Guerre after Pierre Gole and those by Alexandre-Jean Oppenordt), as well as on tapestries (Tenture des Grotesques, Manufacture de Beauvais). In the famous tapestry from L'Histoire du roi, "La Visite du Roi aux Gobelins en 1667" (The King's Visit to Gobelins in 1667), craftsmen can be seen arranging gilded terms on the top of a large cabinet. It is interesting to compare this series of four gilt-bronze terms with those decorating the top of the desk of BVRB I's Elector of Bavaria, now in the Louvre, which still uses this fashionable decorative repertoire.<br><br>Representations of the Four Seasons, associated with mythological figures, were themes in contemporary sculpture at the turn of the 17th and 18th centuries. Flora represents Spring, Ceres Summer, Bacchus Autumn and a draped old man Winter. A drawing by Jean Raon depicting Winter, kept at the Bibliothèque nationale in Paris, and an engraving of terms depicting the Four Seasons, executed by François Coudray, tell us about plans for marble statues to adorn parks and gardens such as those at Versailles and the Tuileries. The sculptor Marc Arcis (1655-1739) created a life-size marble Flora in the form of a term in 1688 for the gardens of Versailles.<br><br>As we have just seen, the repertoire of these bronzes is directly inspired by classical mythology (Ceres, Bacchus, etc.) as well as a popular theme in contemporary sculpture (the Four Seasons). These bronzes are reminiscent of furniture bronzes in the treatment of the mat backgrounds, while the expressions and delicacy of the faces recall the terms that adorn the Four Parts of the World clock (see no. 23 cat. Expo. <i>André-Charles Boulle, a new style for Europe</i>) and the Four Senses clock. André-Charles Boulle, cabinetmaker, chiseller, gilder and sculptor to the king from 1672, worked simultaneously in gilt-bronze and marquetry; the privileges granted by royal recognition and his installation in the galleries of the Louvre enabled him to free himself from the constraints of the guilds and express his immense creative talent. The lost-wax casting technique used here, and the use of gilding, suggest that the work was produced in a privileged workshop used to producing furniture bronzes such as that of André-Charles Boulle.<br><br>There are variants of this series of four terms, particularly in the decoration of the sheath, see those from the former Evelyn Anneberg Hall collection, sold at Christie's in New York on 17 May 2006, lot 377, and those in the Paris art trade (Steinitz gallery in 2006). A series of four from the Dillée collection was sold by Sotheby's in Paris on 18 March 2015, lot 14. This series has cast and chased features in common with the four terms we are presenting, despite very slight differences in composition.<br><br>Le thème des Quatre Saisons apparait largement dans les arts décoratifs à la fin du XVIIe siècle, il a inspiré des ornemanistes comme Jean Bérain. On le retrouve souvent sous une forme architecturale de termes composant les montants de piétement de cabinet (voir celui attribué à la manufacture des Gobelins conservé au musée des Arts décoratifs de Strasbourg, les projets du Cabinet de la Guerre d’après<br>Pierre Gole et ceux d’Alexandre-Jean Oppenordt), mais aussi sur des tapisseries (Tenture des grotesques, manufacture de Beauvais).<br>Sur la célèbre tapisserie tirée de L’Histoire du roi, «<br>La Visite du Roi aux Gobelins en 1667<br>», on peut observer des artisans disposant des termes dorés sur le haut d’un grand cabinet. Il est intéressant de rapprocher cette série de quatre termes en bronze doré de ceux décorant le gradin du bureau de l’Electeur de Bavière de BVRB Ier conservé au musée du Louvre qui reprend encore ce répertoire décoratif en vogue. <br><br>Les représentations des Quatre Saisons, associées à des figures mythologiques, furent des thèmes de la sculpture contemporaine au tournant du XVIIe et du XVIIIe siècle. Flore incarne le Printemps, Cérès l’Eté, Bacchus l’Automne<br>et un vieil homme drapé représente l’Hiver. Un dessin de Jean Raon conservé à la Bibliothèque nationale à Paris représentant l’Hiver, ainsi qu’une gravure de termes figurant les Quatre Saisons exécutés par François Coudray, nous renseignent sur des projets de statues en marbre destinés à orner des parcs et jardins comme ceux de Versailles ou des Tuileries. Le sculpteur Marc Arcis (1655-1739) a réalisé une Flore en marbre grandeur nature en forme de terme en 1688 pour les jardins de Versailles.<br><br>Comme nous venons de le voir, le répertoire de ces bronzes est ici directement inspiré de la mythologie classique<br>(Cérès, Bacchus,<br>…) ainsi que d’un thème en vogue de la sculpture contemporaine (les Quatre Saisons). Ces bronzes évoquent des bronzes d’ameublement par le traitement des fonds mats, tandis que les expressions et la finesse des visages rappellent les termes qui ornent la pendule aux Quatre Parties du Monde (voir n° 23 cat. Expo. <i>André-Charles Boulle, un nouveau style pour l’Europe</i>) et celle des Quatre Sens. André-Charles Boulle, <i>ébéniste, ciseleur, doreur et sculpteur du roi </i>à partir de 1672, travaillait simultanément le bronze doré et la marqueterie<br>; les privilèges accordés par la reconnaissance royale et son installation aux galeries du Louvre lui permirent de s’affranchir des contraintes liées aux corporations et d’exprimer son immense talent créatif.
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A set of four gilt-bronze termes "aux quatre saisons", first half of the 18th century, attributed to the workshop of André-Charles Boulle and his sons<br><br>(4)<br><br>Height. from 11 1/2 in to 13 in<br><br>------------------------------------------------------------------<br><br>Série de quatre termes "aux quatre saisons" en bronze doré, première moitié du XVIIe siècle, attribuées à l'atelier d'André-Charles Boulle et de ses fils<br><br>(4)<br><br>Haut. de 29 cm à 33 cm<br><br>Literature<br><br>Références bibliographieus<br><br>F. Souchal, <i>French Sculptors of the 17</i><sup><i>th</i></sup><i> and 18</i><sup><i>th</i></sup><i> centuries. The reign of Louis XIV</i>, Oxford, 1981, t. I, p. 128-129, et p. 32.<br><br>Catalogue note<br><br>The theme of the Four Seasons appeared widely in the decorative arts at the end of the 17th century, inspiring ornamentalists such as Jean Bérain. It is often found in the architectural form of the terms used in the uprights of cabinet feet (see the one attributed to the Manufacture des Gobelins in the Musée des Arts Décoratifs in Strasbourg, the designs for the Cabinet de la Guerre after Pierre Gole and those by Alexandre-Jean Oppenordt), as well as on tapestries (Tenture des Grotesques, Manufacture de Beauvais). In the famous tapestry from L'Histoire du roi, "La Visite du Roi aux Gobelins en 1667" (The King's Visit to Gobelins in 1667), craftsmen can be seen arranging gilded terms on the top of a large cabinet. It is interesting to compare this series of four gilt-bronze terms with those decorating the top of the desk of BVRB I's Elector of Bavaria, now in the Louvre, which still uses this fashionable decorative repertoire.<br><br>Representations of the Four Seasons, associated with mythological figures, were themes in contemporary sculpture at the turn of the 17th and 18th centuries. Flora represents Spring, Ceres Summer, Bacchus Autumn and a draped old man Winter. A drawing by Jean Raon depicting Winter, kept at the Bibliothèque nationale in Paris, and an engraving of terms depicting the Four Seasons, executed by François Coudray, tell us about plans for marble statues to adorn parks and gardens such as those at Versailles and the Tuileries. The sculptor Marc Arcis (1655-1739) created a life-size marble Flora in the form of a term in 1688 for the gardens of Versailles.<br><br>As we have just seen, the repertoire of these bronzes is directly inspired by classical mythology (Ceres, Bacchus, etc.) as well as a popular theme in contemporary sculpture (the Four Seasons). These bronzes are reminiscent of furniture bronzes in the treatment of the mat backgrounds, while the expressions and delicacy of the faces recall the terms that adorn the Four Parts of the World clock (see no. 23 cat. Expo. <i>André-Charles Boulle, a new style for Europe</i>) and the Four Senses clock. André-Charles Boulle, cabinetmaker, chiseller, gilder and sculptor to the king from 1672, worked simultaneously in gilt-bronze and marquetry; the privileges granted by royal recognition and his installation in the galleries of the Louvre enabled him to free himself from the constraints of the guilds and express his immense creative talent. The lost-wax casting technique used here, and the use of gilding, suggest that the work was produced in a privileged workshop used to producing furniture bronzes such as that of André-Charles Boulle.<br><br>There are variants of this series of four terms, particularly in the decoration of the sheath, see those from the former Evelyn Anneberg Hall collection, sold at Christie's in New York on 17 May 2006, lot 377, and those in the Paris art trade (Steinitz gallery in 2006). A series of four from the Dillée collection was sold by Sotheby's in Paris on 18 March 2015, lot 14. This series has cast and chased features in common with the four terms we are presenting, despite very slight differences in composition.<br><br>Le thème des Quatre Saisons apparait largement dans les arts décoratifs à la fin du XVIIe siècle, il a inspiré des ornemanistes comme Jean Bérain. On le retrouve souvent sous une forme architecturale de termes composant les montants de piétement de cabinet (voir celui attribué à la manufacture des Gobelins conservé au musée des Arts décoratifs de Strasbourg, les projets du Cabinet de la Guerre d’après<br>Pierre Gole et ceux d’Alexandre-Jean Oppenordt), mais aussi sur des tapisseries (Tenture des grotesques, manufacture de Beauvais).<br>Sur la célèbre tapisserie tirée de L’Histoire du roi, «<br>La Visite du Roi aux Gobelins en 1667<br>», on peut observer des artisans disposant des termes dorés sur le haut d’un grand cabinet. Il est intéressant de rapprocher cette série de quatre termes en bronze doré de ceux décorant le gradin du bureau de l’Electeur de Bavière de BVRB Ier conservé au musée du Louvre qui reprend encore ce répertoire décoratif en vogue. <br><br>Les représentations des Quatre Saisons, associées à des figures mythologiques, furent des thèmes de la sculpture contemporaine au tournant du XVIIe et du XVIIIe siècle. Flore incarne le Printemps, Cérès l’Eté, Bacchus l’Automne<br>et un vieil homme drapé représente l’Hiver. Un dessin de Jean Raon conservé à la Bibliothèque nationale à Paris représentant l’Hiver, ainsi qu’une gravure de termes figurant les Quatre Saisons exécutés par François Coudray, nous renseignent sur des projets de statues en marbre destinés à orner des parcs et jardins comme ceux de Versailles ou des Tuileries. Le sculpteur Marc Arcis (1655-1739) a réalisé une Flore en marbre grandeur nature en forme de terme en 1688 pour les jardins de Versailles.<br><br>Comme nous venons de le voir, le répertoire de ces bronzes est ici directement inspiré de la mythologie classique<br>(Cérès, Bacchus,<br>…) ainsi que d’un thème en vogue de la sculpture contemporaine (les Quatre Saisons). Ces bronzes évoquent des bronzes d’ameublement par le traitement des fonds mats, tandis que les expressions et la finesse des visages rappellent les termes qui ornent la pendule aux Quatre Parties du Monde (voir n° 23 cat. Expo. <i>André-Charles Boulle, un nouveau style pour l’Europe</i>) et celle des Quatre Sens. André-Charles Boulle, <i>ébéniste, ciseleur, doreur et sculpteur du roi </i>à partir de 1672, travaillait simultanément le bronze doré et la marqueterie<br>; les privilèges accordés par la reconnaissance royale et son installation aux galeries du Louvre lui permirent de s’affranchir des contraintes liées aux corporations et d’exprimer son immense talent créatif.
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Saint-Honoré CS 10010
CEDEX 08
Paris
France
75384
France
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