拍品 100
100
THE PROPERTY OF A LADY
A FINE FRENCH ORMOLU-MOUNTED, EBONY AND LACQUERED SIDE CABINET, by Beurdeley, Paris, in the style of Martin Carlin, of breakfront outline, with a white carrara marble shaped rectangular top, with an acanthus-cast moulded edge above three drawers, each with an inset lacquered panel within a milled border, the centre drawer with foliate-cast escutcheon plate with the torch of love, a sheaf of arrows and a bow, the side drawers each with a shield-shaped acanthus-cast escutcheon with foliate festoons and laurel sprigs, above a central door mounted with a cushion-shaped chinoiserie panel painted with a cherry blossom tree on naturalistic rocky ground and with rippling water below, within a geometric design gilt and metallic border with a lion mask above and two sunflowers supporting floral garlands and pendants, terminating with oval lock escutcheons, the shelved interior flanked to each side by a cupboard door, each inset with a lacquered panel within an ormolu milled border, one decorated with two birds above blossom, the other with a bird nesting on a branch, the sides similarly decorated with panels of chinoiserie lacquer, the front projecting angles each headed by a pair of seated cherubs supporting a vase, within acanthus-cast scrolls and floral pendants above circular-tapering fluted columns with acanthus-cast capitals and similarly decorated baluster bases on four hairy-hoof feet, the apron decorated with inset metallic lacquer panels centred by a lion mask, flanked by a pair of leaf-cast toupie feet and with four other toupie feet, the back stamped twice with a marque au fer, A.BEURDELEY/A PARIS, late 19th Century 58¼in. (148cm.) wide; 42in. (106.5cm.) high; 18½in. (47cm.) deep

細節
A FINE FRENCH ORMOLU-MOUNTED, EBONY AND LACQUERED SIDE CABINET, by Beurdeley, Paris, in the style of Martin Carlin, of breakfront outline, with a white carrara marble shaped rectangular top, with an acanthus-cast moulded edge above three drawers, each with an inset lacquered panel within a milled border, the centre drawer with foliate-cast escutcheon plate with the torch of love, a sheaf of arrows and a bow, the side drawers each with a shield-shaped acanthus-cast escutcheon with foliate festoons and laurel sprigs, above a central door mounted with a cushion-shaped chinoiserie panel painted with a cherry blossom tree on naturalistic rocky ground and with rippling water below, within a geometric design gilt and metallic border with a lion mask above and two sunflowers supporting floral garlands and pendants, terminating with oval lock escutcheons, the shelved interior flanked to each side by a cupboard door, each inset with a lacquered panel within an ormolu milled border, one decorated with two birds above blossom, the other with a bird nesting on a branch, the sides similarly decorated with panels of chinoiserie lacquer, the front projecting angles each headed by a pair of seated cherubs supporting a vase, within acanthus-cast scrolls and floral pendants above circular-tapering fluted columns with acanthus-cast capitals and similarly decorated baluster bases on four hairy-hoof feet, the apron decorated with inset metallic lacquer panels centred by a lion mask, flanked by a pair of leaf-cast toupie feet and with four other toupie feet, the back stamped twice with a marque au fer, A.BEURDELEY/A PARIS, late 19th Century
58¼in. (148cm.) wide; 42in. (106.5cm.) high; 18½in. (47cm.) deep

拍品專文

This Side Cabinet is very close in design to a commode made by Martin Carlin (Maître-Ebéniste 1766-1785) dating from 1785 for Mme. Victoire of Bellevue, which subsequently, after 1810 was in Napoleon's petits appartements at Fontainbleu and is now housed in the Louvre. The ebony veneer and Japanese laquer outlined by cast gilt-bronze mounts of the highest quality epitomise the work of Carlin, and characteristically we find foliate festoons and baluster collonettes on the two front corners. Beurdeley in his side cabinet again uses very high quality mounts with impeccable workmanship throughout, choosing to employ foliate festoons of slightly larger proportions, yet only on the central door. The Beurdeley dynasty of maîtres ébénistes which produced work over three generations used the same brand mark, A Beurdeley A Paris, making the identification of exactly which member of the family produced the piece difficult: however, it seems probable that either Louis-Auguste-Alfred (d.1882) or his son, Alfred-Emmanuel-Louis (d.1919) would have been responsible here.