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Descrizione dettagliata lotto
This pair of ormolu buckets of faceted form displays ornament directly inspired by early eighteenth-century French silver. The waisted neck is enriched with a broad lambrequin frieze, while each facet is centred by a diaper panel with rosettes and corner roses, above a band of postes ornament. A virtually identical pair (retaining its handles), dated circa 1700–1715, is preserved in the Louvre Museum (inv. OA9688).
A model derived from French silver
Our pair of ormolu wine coolers was almost certainly produced after a corresponding silver model. It may be closely compared to a pair of silver wine coolers, likewise formerly in the collection of Doña Graziella Patiño Ortiz Linares, engraved with the Royal Arms of England and bearing French hallmarks (sold Sotheby's, New York, 21 May 1992, lot 114). Attributed to Nicolas Besnier (1686–1754), it is among the very few French examples to have survived the widespread melting-down of silver during the eighteenth century. The pair almost certainly formed part of the silver service of the British ambassador Horatio Walpole (1678–1757), who served at the French court between 1723 and 1730.
Following the successive sumptuary edicts and the increasing scarcity of silver, both patrons and craftsmen increasingly turned to gilt bronze while continuing to draw upon established silver forms. Although the decoration of our wine coolers may have been inspired by the work of Nicolas Besnier, the original design ultimately derives from his master, Nicolas Delaunay (1646–1727).
The Louvre's ormolu example and the silver pair formerly in the Ortiz-Patiño collection were both sold during the twentieth century by the celebrated dealer and silver specialist Jacques Helft (1891–1980). Given Helft's well-documented relationship with the Ortiz-Patiño family, it is entirely plausible that the present pair of ormolu wine coolers also passed through his hands.
The model's success among Huguenot silversmiths in England
This faceted wine cooler design enjoyed remarkable success in England, where it was introduced by French Huguenot silversmiths who had fled following the Revocation of the Edict of Nantes. London subsequently became one of the principal centres for silver in the French, or Huguenot, taste.
Several closely related English silver wine coolers survive in American museum collections. One is preserved in the Philadelphia Museum of Art (inv. 1959-151-8), while another pair belongs to the Metropolitan Museum of Art, New York (inv. 68.141.128–129). The Philadelphia example, dating to around 1720, bears the mark of David Willaume (active in London, 1658–1741), while the New York pair, dated 1716–1717, carries the mark of William Lukin (active 1699–1755). These English examples eloquently demonstrate the international influence of Parisian silver designs during the opening decades of the eighteenth century.
This pair of faceted ormolu wine coolers displays a decorative scheme directly derived from the vocabulary of early eighteenth-century French silver. The neck is enriched with a broad lambrequin frieze, while each side is articulated by a panel of trelliswork and rosettes framed by two roses in the spandrels, above a border. An identical pair (with handles), datable to circa 1700–1715, is today preserved in the Musée du Louvre (inv. OA 9688) (fig. 2).
A Model Borrowed from French Silverwork
The present pair of ormolu wine coolers was almost certainly produced after a comparable silver model. It may be compared to a pair of silver wine coolers, also formerly in the collection of Doña Graziella Patiño de Ortiz Linares, engraved with the Royal Arms of England and bearing French hallmarks (sold at Sotheby’s New York, 21 May 1992, lot 114). Attributed to Nicolas Besnier (1686-1754), it represents one of the very few French silver examples to have survived the widespread meltings of the eighteenth century.
This silver pair almost certainly formed part of the plate owned by the English ambassador Horatio Walpole (1678–1757), who served at the French court between 1723 and 1730. Following the promulgation of sumptuary regulations and the growing scarcity of silver, both patrons and craftsmen increasingly turned to gilt-bronze while continuing to draw upon established silverwork models. Although the decoration of the present pair may derive from works by Nicolas Besnier, the original design should more properly be credited to his master, Nicolas Delaunay (circa 1646–1727).
The ormolu example in the Louvre and the silver pair formerly in the Patiño de Ortiz Linares collection both passed through the hands of the renowned dealer and silver specialist Jacques Helft (1891-1980) during the twentieth century. Given Helft’s well-documented relationship with the Ortiz-Patiño family, it is highly likely that the present ormolu pair was likewise handled by him.
The Success of the Model among Huguenot Silversmiths in England
This faceted wine cooler model enjoyed considerable success in England. It was introduced by French Huguenot silversmiths who emigrated following the Revocation of the Edict of Nantes. London subsequently became a major centre for French-inspired silver, commonly referred to as Huguenot silver.
Several comparable silver wine coolers bearing English hallmarks are preserved in American museum collections. One is housed in the Philadelphia Museum of Art (inv. 1959-151-8), while another pair is in the Metropolitan Museum of Art, New York (inv. 68.141.128–129) (fig. 1). The Philadelphia example, dating to circa 1720, bears the mark of David Willaume (active in London, 1658–1741), while the New York pair, dated 1716–1717, bears the mark of William Lukin (active 1699–1755). These English examples illustrate the international influence of Parisian silver designs in the early eighteenth century.
We are grateful to Dr. Christophe Huchet de Quénetain for his contribution to the preparation of this catalogue entry.
Cette paire de seaux à bouteille en bronze doré à pans coupés arbore un décor directement emprunté à l’univers de l’orfèvrerie française du début du XVIIIe siècle. La gorge est accentuée par une large frise de lambrequins, tout comme chaque face est rythmée d’un compartiment à croisillons et rosettes muni de deux roses aux écoinçons, au-dessous desquels se trouve un bandeau orné de postes. Une paire identique avec poignées, datée vers 1700-1715, est aujourd'hui conservée au musée du Louvre (inv. OA 9688) (fig. 2).
Un modèle emprunté à l'orfèvrerie française
Notre exemplaire de seaux à bouteilles en bronze a été très probablement produit d'après un modèle similaire en argent. En effet, il peut être rapproché d’une paire de seaux en argent, également issue de la collection de Doña Graziella Patiño de Ortiz Linares, ornée aux armes royales anglaises et portant des poinçons français (vendue chez Sotheby’s à New York, 21 mai 1992, lot 114). Attribué à Nicolas Besnier (1686-1754), il s’agit d’un des seuls exemplaires français ayant survécu aux fontes du XVIIIe siècle. Cette paire en argent est très certainement issue de la vaisselle de l’ambassadeur anglais Horatio Walpole (1678-1757), exerçant à la cour de France entre 1723 et 1730. Suite aux édits somptuaires publiés, la raréfaction de l'argent pousse les artisans et la clientèle à se tourner vers le bronze doré, tout en reprenant des modèles d’orfèvrerie. Si le décor de notre paire de seaux peut avoir été emprunté à l’œuvre de Nicolas Besnier, toutefois, son invention revient à Nicolas Delaunay (vers 1646-1727), son maître.
L’exemplaire en bronze du musée du Louvre et l’exemplaire en argent de l’ancienne collection Patiño de Ortiz Linares ont été vendus au XXe siècle par le marchand et expert en orfèvrerie Jacques Helft (1891-1980). Sa proximité avérée avec la famille Ortiz-Patiño laisse supposer que notre présent exemplaire en bronze doré ait été vendu à la famille par Helft.
La fortune du modèle auprès des orfèvres anglais huguenots
Ce modèle de seau à pans coupés connaît un véritable succès en Angleterre. Il a été importé par les orfèvres français huguenots forcés à l’émigration suite à la révocation de l’édit de Nantes. Londres devient alors un foyer important d’orfèvrerie de style français, dite huguenote. Plusieurs seaux comparables en argent, portant des poinçons anglais, sont ainsi conservés dans des musées américains. L’un se trouve au Museum of Art de Philadelphie (inv. 1959-151-8), les autres, formant paire, sont dans les collections du Metropolitan Museum à New York (inv. 68.141128⁄129) (fig. 1). Celui de Philadelphie, daté vers 1720, porte un poinçon de David Willaume (actif à Londres de 1658 à 1741), alors que la paire à New York, datée de 1716-1717, porte un poinçon de William Lukin (actif de 1699 à 1755). Ces seaux anglais sont le symbole du rayonnement international des modèles d’orfèvrerie parisiens au début du XVIIIe siècle.
Comme le lot précédent de la vente (lot 6), cette paire de seaux provient de la prestigieuse collection de François Coty vendue à Paris en 1936 qui attira les plus grands amateurs.
Nous remercions M. Christophe Huchet de Quénetain, docteur en histoire de l'art, pour sa contribution à l'élaboration de cette notice.
A model derived from French silver
Our pair of ormolu wine coolers was almost certainly produced after a corresponding silver model. It may be closely compared to a pair of silver wine coolers, likewise formerly in the collection of Doña Graziella Patiño Ortiz Linares, engraved with the Royal Arms of England and bearing French hallmarks (sold Sotheby's, New York, 21 May 1992, lot 114). Attributed to Nicolas Besnier (1686–1754), it is among the very few French examples to have survived the widespread melting-down of silver during the eighteenth century. The pair almost certainly formed part of the silver service of the British ambassador Horatio Walpole (1678–1757), who served at the French court between 1723 and 1730.
Following the successive sumptuary edicts and the increasing scarcity of silver, both patrons and craftsmen increasingly turned to gilt bronze while continuing to draw upon established silver forms. Although the decoration of our wine coolers may have been inspired by the work of Nicolas Besnier, the original design ultimately derives from his master, Nicolas Delaunay (1646–1727).
The Louvre's ormolu example and the silver pair formerly in the Ortiz-Patiño collection were both sold during the twentieth century by the celebrated dealer and silver specialist Jacques Helft (1891–1980). Given Helft's well-documented relationship with the Ortiz-Patiño family, it is entirely plausible that the present pair of ormolu wine coolers also passed through his hands.
The model's success among Huguenot silversmiths in England
This faceted wine cooler design enjoyed remarkable success in England, where it was introduced by French Huguenot silversmiths who had fled following the Revocation of the Edict of Nantes. London subsequently became one of the principal centres for silver in the French, or Huguenot, taste.
Several closely related English silver wine coolers survive in American museum collections. One is preserved in the Philadelphia Museum of Art (inv. 1959-151-8), while another pair belongs to the Metropolitan Museum of Art, New York (inv. 68.141.128–129). The Philadelphia example, dating to around 1720, bears the mark of David Willaume (active in London, 1658–1741), while the New York pair, dated 1716–1717, carries the mark of William Lukin (active 1699–1755). These English examples eloquently demonstrate the international influence of Parisian silver designs during the opening decades of the eighteenth century.
This pair of faceted ormolu wine coolers displays a decorative scheme directly derived from the vocabulary of early eighteenth-century French silver. The neck is enriched with a broad lambrequin frieze, while each side is articulated by a panel of trelliswork and rosettes framed by two roses in the spandrels, above a border. An identical pair (with handles), datable to circa 1700–1715, is today preserved in the Musée du Louvre (inv. OA 9688) (fig. 2).
A Model Borrowed from French Silverwork
The present pair of ormolu wine coolers was almost certainly produced after a comparable silver model. It may be compared to a pair of silver wine coolers, also formerly in the collection of Doña Graziella Patiño de Ortiz Linares, engraved with the Royal Arms of England and bearing French hallmarks (sold at Sotheby’s New York, 21 May 1992, lot 114). Attributed to Nicolas Besnier (1686-1754), it represents one of the very few French silver examples to have survived the widespread meltings of the eighteenth century.
This silver pair almost certainly formed part of the plate owned by the English ambassador Horatio Walpole (1678–1757), who served at the French court between 1723 and 1730. Following the promulgation of sumptuary regulations and the growing scarcity of silver, both patrons and craftsmen increasingly turned to gilt-bronze while continuing to draw upon established silverwork models. Although the decoration of the present pair may derive from works by Nicolas Besnier, the original design should more properly be credited to his master, Nicolas Delaunay (circa 1646–1727).
The ormolu example in the Louvre and the silver pair formerly in the Patiño de Ortiz Linares collection both passed through the hands of the renowned dealer and silver specialist Jacques Helft (1891-1980) during the twentieth century. Given Helft’s well-documented relationship with the Ortiz-Patiño family, it is highly likely that the present ormolu pair was likewise handled by him.
The Success of the Model among Huguenot Silversmiths in England
This faceted wine cooler model enjoyed considerable success in England. It was introduced by French Huguenot silversmiths who emigrated following the Revocation of the Edict of Nantes. London subsequently became a major centre for French-inspired silver, commonly referred to as Huguenot silver.
Several comparable silver wine coolers bearing English hallmarks are preserved in American museum collections. One is housed in the Philadelphia Museum of Art (inv. 1959-151-8), while another pair is in the Metropolitan Museum of Art, New York (inv. 68.141.128–129) (fig. 1). The Philadelphia example, dating to circa 1720, bears the mark of David Willaume (active in London, 1658–1741), while the New York pair, dated 1716–1717, bears the mark of William Lukin (active 1699–1755). These English examples illustrate the international influence of Parisian silver designs in the early eighteenth century.
We are grateful to Dr. Christophe Huchet de Quénetain for his contribution to the preparation of this catalogue entry.
Cette paire de seaux à bouteille en bronze doré à pans coupés arbore un décor directement emprunté à l’univers de l’orfèvrerie française du début du XVIIIe siècle. La gorge est accentuée par une large frise de lambrequins, tout comme chaque face est rythmée d’un compartiment à croisillons et rosettes muni de deux roses aux écoinçons, au-dessous desquels se trouve un bandeau orné de postes. Une paire identique avec poignées, datée vers 1700-1715, est aujourd'hui conservée au musée du Louvre (inv. OA 9688) (fig. 2).
Un modèle emprunté à l'orfèvrerie française
Notre exemplaire de seaux à bouteilles en bronze a été très probablement produit d'après un modèle similaire en argent. En effet, il peut être rapproché d’une paire de seaux en argent, également issue de la collection de Doña Graziella Patiño de Ortiz Linares, ornée aux armes royales anglaises et portant des poinçons français (vendue chez Sotheby’s à New York, 21 mai 1992, lot 114). Attribué à Nicolas Besnier (1686-1754), il s’agit d’un des seuls exemplaires français ayant survécu aux fontes du XVIIIe siècle. Cette paire en argent est très certainement issue de la vaisselle de l’ambassadeur anglais Horatio Walpole (1678-1757), exerçant à la cour de France entre 1723 et 1730. Suite aux édits somptuaires publiés, la raréfaction de l'argent pousse les artisans et la clientèle à se tourner vers le bronze doré, tout en reprenant des modèles d’orfèvrerie. Si le décor de notre paire de seaux peut avoir été emprunté à l’œuvre de Nicolas Besnier, toutefois, son invention revient à Nicolas Delaunay (vers 1646-1727), son maître.
L’exemplaire en bronze du musée du Louvre et l’exemplaire en argent de l’ancienne collection Patiño de Ortiz Linares ont été vendus au XXe siècle par le marchand et expert en orfèvrerie Jacques Helft (1891-1980). Sa proximité avérée avec la famille Ortiz-Patiño laisse supposer que notre présent exemplaire en bronze doré ait été vendu à la famille par Helft.
La fortune du modèle auprès des orfèvres anglais huguenots
Ce modèle de seau à pans coupés connaît un véritable succès en Angleterre. Il a été importé par les orfèvres français huguenots forcés à l’émigration suite à la révocation de l’édit de Nantes. Londres devient alors un foyer important d’orfèvrerie de style français, dite huguenote. Plusieurs seaux comparables en argent, portant des poinçons anglais, sont ainsi conservés dans des musées américains. L’un se trouve au Museum of Art de Philadelphie (inv. 1959-151-8), les autres, formant paire, sont dans les collections du Metropolitan Museum à New York (inv. 68.141128⁄129) (fig. 1). Celui de Philadelphie, daté vers 1720, porte un poinçon de David Willaume (actif à Londres de 1658 à 1741), alors que la paire à New York, datée de 1716-1717, porte un poinçon de William Lukin (actif de 1699 à 1755). Ces seaux anglais sont le symbole du rayonnement international des modèles d’orfèvrerie parisiens au début du XVIIIe siècle.
Comme le lot précédent de la vente (lot 6), cette paire de seaux provient de la prestigieuse collection de François Coty vendue à Paris en 1936 qui attira les plus grands amateurs.
Nous remercions M. Christophe Huchet de Quénetain, docteur en histoire de l'art, pour sa contribution à l'élaboration de cette notice.