Tag Archives: Madame de Pompadour

A Mistress’s Taste

I thought that I would share these wonderful fusions of eastern and western decorative arts that almost certainly belonged to Madame de Pompadour who was Louis XV’s mistress and which will be auctioned next week

 

Treasures Sale Sotheby’s London, 8 July 2015 A pair of gilt-bronze-mounted Chinese export porcelain cockerel candelabra, the porcelain Qianlong (1736-1795), the mounts Louis XV, with the crown c poinçon, circa 1745-49, attributed to Jacques Caffiéri (1678-1755), almost certainly acquired by Madame de Pompadour from Lazare–Duvaux on 4th August 1755 for l’Hôtel d’Évreux in Paris each 63cm. high; 2ft. 1in Estimate: £500,000 — 1,000,000

Treasures Sale
Sotheby’s London, 8 July 2015
A pair of gilt-bronze-mounted Chinese export porcelain cockerel candelabra, the porcelain Qianlong (1736-1795), the mounts Louis XV, with the crown c poinçon, circa 1745-49, attributed to Jacques Caffiéri (1678-1755), almost certainly acquired by Madame de Pompadour from Lazare–Duvaux on 4th August 1755 for l’Hôtel d’Évreux in Paris
each 63cm. high; 2ft. 1in
Estimate: £500,000 — 1,000,000

 

The Exceptional Sale - 2015 Christie's London, King Street, Jul 09, 2015 Lot Number 0129 PROPERTY FROM A DISTINGUISHED EUROPEAN PRIVATE COLLECTION (lots 118-131) A PAIR OF LOUIS XV ORMOLU AND GILT-COPPER-MOUNTED CHINESE BLANC DE CHINE THREE-BRANCH CANDELABRA CIRCA 1750, THE PORCELAIN EARLY 18TH CENTURY Each with a figure of a stork wearing a stylised necklace, standing before a tree trunk on a naturalistic base, mounted with twisting grape vine branches entwined around the trunk and terminating in foliate drip pans and nozzles, on a rocaille and foliate decorated base, restorations to the storks legs and the tree stumps 17 ¼ in. (44 cm.) high Estimate 300,000 - 500,000 British pounds Provenance Possibly supplied by the marchand-mercier, Lazare Duvaux, on 14 February 1752 to Jeanne Antoinette Poisson, Marquise de Pompadour (1764) and possibly the pair listed in the 1764 inventory following her death as no. 2312. Possibly, M. l’Abbe Le Blanc, Historiographe des Batiments du Roi, sold, 14 February 1781, lot 128 and acquired by Jean-Baptiste-Pierre Lebrun, or sold anonymously (actually the properties of La Reynière, Donjeu, the marquis de Chevigné), 10 February 1773, lot 66. In the collection of Madame and Colonel Balsan in 1936, photographed in the ‘salle à manger’ of their Parisian hôtel overlooking the Champ-de-Mars. Thence by descent to the end of the 1950's. Sold, Sotheby's, Monaco, 11 December 1999, lot 88, where acquired by the present owner. © Christie’s Images Limited 2015

The Exceptional Sale – 2015
Christie’s London, King Street, Jul 09, 2015
Lot Number 0129
PROPERTY FROM A DISTINGUISHED EUROPEAN PRIVATE COLLECTION (lots 118-131)
A PAIR OF LOUIS XV ORMOLU AND GILT-COPPER-MOUNTED CHINESE BLANC DE CHINE THREE-BRANCH CANDELABRA
CIRCA 1750, THE PORCELAIN EARLY 18TH CENTURY
Each with a figure of a stork wearing a stylised necklace, standing before a tree trunk on a naturalistic base, mounted with twisting grape vine branches entwined around the trunk and terminating in foliate drip pans and nozzles, on a rocaille and foliate decorated base, restorations to the storks legs and the tree stumps
17 ¼ in. (44 cm.) high
Estimate 300,000 – 500,000 British pounds
Provenance Possibly supplied by the marchand-mercier, Lazare Duvaux, on 14 February 1752 to Jeanne Antoinette Poisson, Marquise de Pompadour (1764) and possibly the pair listed in the 1764 inventory following her death as no. 2312.
Possibly, M. l’Abbe Le Blanc, Historiographe des Batiments du Roi, sold, 14 February 1781, lot 128 and acquired by Jean-Baptiste-Pierre Lebrun, or sold anonymously (actually the properties of La Reynière, Donjeu, the marquis de Chevigné), 10 February 1773, lot 66.
In the collection of Madame and Colonel Balsan in 1936, photographed in the ‘salle à manger’ of their Parisian hôtel overlooking the Champ-de-Mars.
Thence by descent to the end of the 1950’s.
Sold, Sotheby’s, Monaco, 11 December 1999, lot 88, where acquired by the present owner.
© Christie’s Images Limited 2015

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.sothebys.com

http://www.christies.com

Waddesdon Manor – The Riches Of The Earth

The Riches Of The Earth, Waddesdon Manor, Waddesdon, Near Aylesbury, Buckinghamshire, until 25th October 2015

 

Guillaume Beneman, writing table, 1786; oak carcass; veneered with purpleheart; with sycamore, ebony, boxwood and casuarina wood marquetry, gilt-bronze mounts and a leather top; 790 x 1902 x 895mm; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2575. Photo: Mike Fear © The National Trust, Waddesdon Manor

Guillaume Beneman, writing table, 1786;
oak carcass; veneered with purpleheart; with sycamore, ebony, boxwood and casuarina wood marquetry, gilt-bronze mounts and a leather top; 790 x 1902 x 895mm;
Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2575.
Photo: Mike Fear © The National Trust, Waddesdon Manor

Over the coming weeks I shall be writing from time to time about this spectacular Rothschild house which I first visited some fifty years ago and to which I always look forward to returning to whenever possible.

Beauvais, designed by François Boucher, Fontaine d’Amour, 1755-1775; wool and silk; 3365 x 3469mm; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2438.3. Photo: P J Gates © The National Trust, Waddesdon Manor

Beauvais, designed by François Boucher, Fontaine d’Amour, 1755-1775;
wool and silk; 3365 x 3469mm;
Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2438.3.
Photo: P J Gates © The National Trust, Waddesdon Manor

The collections whether paintings, furniture, porcelain, books or textiles are really superb and as a “themed exhibition” this year the visitors attention is drawn to the works and interior features that reflect the wealth of the earth be it as clay, wood, metals, marble or the plants and minerals used for dyes in textiles. You will follow a special trail through the house to a display in the Exhibition Room upstairs.

Chandelier (detail), late 17th century- early 18th century; France; steel, rock crystal and cut glass; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2741. Photo: Mike Fear © The National Trust, Waddesdon Manor

Chandelier (detail), late 17th century- early 18th century; France; steel, rock crystal and cut glass; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2741.
Photo: Mike Fear © The National Trust, Waddesdon Manor

Shown here is just a small selection that celebrates not only the gifts of the earth but also the family’s collecting over the years.

Table, c 1710-1720; Augsburg, Germany; wood, metal, tortoiseshell; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc.no. 2227.1. Photo: John Bigelow Taylor © The National Trust, Waddesdon Manor

Table, c 1710-1720; Augsburg, Germany; wood, metal, tortoiseshell;
Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc.no. 2227.1.
Photo: John Bigelow Taylor © The National Trust, Waddesdon Manor

 

Four large panels symbolising the seasons (detail); 1720-1750; France; oak; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 3565.7. Photo: Mike Fear © The National Trust, Waddesdon Manor

Four large panels symbolising the seasons (detail); 1720-1750;
France; oak;
Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 3565.7.
Photo: Mike Fear © The National Trust, Waddesdon Manor

 

Pot-pourri vase, Sèvres Manufactory, 1761, Waddesdon, The Rothschild Collection (The National Trust). Bequest of James de Rothschild, 1957. Photo: Hugo Maertens © The National Trust, Waddesdon Manor

Pot-pourri vase, Sèvres Manufactory, 1761,
Waddesdon, The Rothschild Collection (The National Trust). Bequest of James de Rothschild, 1957.
Photo: Hugo Maertens © The National Trust, Waddesdon Manor

 

Joshua Reynolds, Lady Anne Luttrell, The Duchess of Cumberland (1743-1809), 1772-1773; oil on canvas; 2490 x 1620mm; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2303 © The National Trust, Waddesdon Manor

Joshua Reynolds, Lady Anne Luttrell, The Duchess of Cumberland (1743-1809), 1772-1773;
oil on canvas; 2490 x 1620mm;
Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2303
© The National Trust, Waddesdon Manor

 

Savonnerie, Duvivier workshop, carpet, 1753-1757; wool; 312 x 285cm; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2757. Photo: © The National Trust, Waddesdon Manor

Savonnerie, Duvivier workshop, carpet, 1753-1757;
wool; 312 x 285cm;
Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; acc. no. 2757.
Photo: © The National Trust, Waddesdon Manor

Lastly a view of the Grey Drawing Room which I am sure will give a very clear view of what makes this such a special place. Indeed I am tempted to paraphrase Dr Johnson and say that when one is tired of Waddesdon, one is tired of life. I most certainly look forward to my next visit.

The Grey Drawing Room, Waddesdon Manor, The Rothschild Collection (The National Trust). ©The National Trust, Waddesdon Manor

The Grey Drawing Room, Waddesdon Manor, The Rothschild Collection (The National Trust).
©The National Trust, Waddesdon Manor

www.waddesdon.org.uk

The Wallace Collection

The Great Gallery Reopened!

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Do you know that feeling you can get when you see something that so impresses you that you actually have to go back to see it again? Well that is what happened with me and the re-opening of the Great Gallery at the Wallace Collection and believe me it is looking fantastic.

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The new ceiling which once again allows natural light in is a huge bonus, evoking Sir Richard Wallace’s days. He had the original gallery added between 1872-5 to house his collection which he was bringing over from Paris.

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The famous art historian Sir Kenneth Clark described it as “the greatest picture gallery in Europe” and it certainly deserves that appellation. The new hang emphasizes the creative dialogue between the major 17th century centres of artistic endeavor; Italy, Spain, the Netherlands and France. Among the familiar treasures on show are the widely known and loved works – Hals’ The Laughing Cavalier, Rubens’ The Rainbow Landscape, Poussin’s A Dance to the Music of Time and Velázquez’ The Lady with a Fan.

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The striking new crimson silk damask on the walls reflects the way 19th century collectors displayed their paintings while the new decorative wainscot panelling captures the spirit of the 18th century as arranged against it is some of the Collection’s superb Boulle furniture. Indeed the noted collector the Marquis de Marigny (Madame de Pompadour’s brother) said that the best way to display Boulle furniture was against white and gold panelling and he is certainly proved right in this gallery. By the 1770s it had become fashionable in France to place Boulle pieces in the same rooms as Old Masters.

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So following the two year refurbishment, thanks to the generous support of the Monuments Trust who made it possible, the 18th, 19th and 21st centuries have come together in a glorious symphony of art. I did wonder looking at the portrait of George IV what he would think were he able to visit the gallery and I could imagine that on leaving he would call his architects and ask them to create as great a room for him at Buckingham Palace!

http://www.wallacecollection.org

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