拍品專文
The central panel is engraved with the coat-of-arms of the town of Ghent, the other two with the arms of the Guilde des Marchands-Poissonniers (Fishmongers) of the town of Ghent.
The designs repoussé and chased by Johann Franciscus Deprez might come from Augsburg. These were influenced by Jean Bérain (1637-1711) who had been the leading designer at the court of Louis XIV after Charles Le Brun's death in 1691. His designs, engraved by G.J.B. Scotin l'Ainé, were frequently cypied and remodeled throughout the 18th century. Johann Jakob Baumgartner published a model-book at Augsburg (circa 1720-1730) in Gantz Neu Invendirtes Laub und Bändlwerk whose arabesques or new-grotesques are directly influenced by Bérain's creations.
While Bérain's influence was replaced in France by artists like J.A. Meissonnier and J. Oppenordt who both promoted the fashionable rocaille style. Some classical-minded French silversmiths continued to use the designs of Bérain, as did German, Flemish and Italian craftmen. Works based on these designs are frequently found up until the 1780's.
Table centres of this type called chemin de table in France were particularly fashionable in royal and aristocratic circles in the 1750's and 1760's. At that period, luxurious dinners were more often offered later in the day and required a large number of candles to light the tables. Mirrors were often used to reflect the maximum amount of light. These mirrored centres were decorated with porcelain figures; the most up-to-date fashion of this time was to employ a sableur who would compose a miniature broderies parterre garden using various colours of sands to re-create them. These "gardens" are described in the once popular book written by the "table-setter" of King Stanislas Leczynski of Poland at his Nancy court, Gilliens, le Cannaméliste François, Nancy, 1751.
Bibliography:
- R. Berliner und A. Egger, Ornementale Vorlageblätter, Munich, 1981, vol. 2, nr 1143, 1239
- Stefan Bursche, Tafelzier der Barock, Munich, 1974
- Alain Gruber, les Décors de Table Ephémères aux 17 et 18ème siècles, in Gazette des Beaux-Arts, mai-juin 1974, pp. 285-300
- Alain Gruber, l'Argenterie de Maison, Fribourg, 1982, pp. 31, 39, 45, 184.
The designs repoussé and chased by Johann Franciscus Deprez might come from Augsburg. These were influenced by Jean Bérain (1637-1711) who had been the leading designer at the court of Louis XIV after Charles Le Brun's death in 1691. His designs, engraved by G.J.B. Scotin l'Ainé, were frequently cypied and remodeled throughout the 18th century. Johann Jakob Baumgartner published a model-book at Augsburg (circa 1720-1730) in Gantz Neu Invendirtes Laub und Bändlwerk whose arabesques or new-grotesques are directly influenced by Bérain's creations.
While Bérain's influence was replaced in France by artists like J.A. Meissonnier and J. Oppenordt who both promoted the fashionable rocaille style. Some classical-minded French silversmiths continued to use the designs of Bérain, as did German, Flemish and Italian craftmen. Works based on these designs are frequently found up until the 1780's.
Table centres of this type called chemin de table in France were particularly fashionable in royal and aristocratic circles in the 1750's and 1760's. At that period, luxurious dinners were more often offered later in the day and required a large number of candles to light the tables. Mirrors were often used to reflect the maximum amount of light. These mirrored centres were decorated with porcelain figures; the most up-to-date fashion of this time was to employ a sableur who would compose a miniature broderies parterre garden using various colours of sands to re-create them. These "gardens" are described in the once popular book written by the "table-setter" of King Stanislas Leczynski of Poland at his Nancy court, Gilliens, le Cannaméliste François, Nancy, 1751.
Bibliography:
- R. Berliner und A. Egger, Ornementale Vorlageblätter, Munich, 1981, vol. 2, nr 1143, 1239
- Stefan Bursche, Tafelzier der Barock, Munich, 1974
- Alain Gruber, les Décors de Table Ephémères aux 17 et 18ème siècles, in Gazette des Beaux-Arts, mai-juin 1974, pp. 285-300
- Alain Gruber, l'Argenterie de Maison, Fribourg, 1982, pp. 31, 39, 45, 184.