拍品专文
Roger van der Cruse ('RVLC'), known as Lacroix, maître in 1755.
The distinctive ‘naif’ marquetry of teapots, vessels, flower-filled vases and urns, inspired by the ornamental borders of Chinese Coromandel lacquer screens, is associated with the Parisian ébéniste and specialist marqueteur, Charles Topino (maître in 1773), based in the rue Faubourg-Saint-Antoine. As his daybook reveals, he is known to have supplied marquetry panels of this type to his confrères, the marchand-ébénistes, who then sold them on as their own (A. Pradère, Les Ebénistes Français de Louis XIV à la Revolution, Paris, 1989, p. 319). However, RVLC did not make use of Topino's marquetry panels, but almost certainly executed these in his own atelier. His examples of ‘naif’ marquetry are highly individual both in choice of objets and arrangement, and are clearly his own invention (C. Roinet, Roger Vandercruse dit La Croix 1727-1799, Paris, 2000, p. 64). Identical ormolu mounts, the entrelac on the frieze and the idiosyncratic chutes, are also found on other RVLC-stamped marquetry furniture of circa 1770, a bonheur-du-jour à guichets and a bonheur-du-jour à gradin, illustrated Roinet, ibid., figs. 29, 36.
The distinctive ‘naif’ marquetry of teapots, vessels, flower-filled vases and urns, inspired by the ornamental borders of Chinese Coromandel lacquer screens, is associated with the Parisian ébéniste and specialist marqueteur, Charles Topino (maître in 1773), based in the rue Faubourg-Saint-Antoine. As his daybook reveals, he is known to have supplied marquetry panels of this type to his confrères, the marchand-ébénistes, who then sold them on as their own (A. Pradère, Les Ebénistes Français de Louis XIV à la Revolution, Paris, 1989, p. 319). However, RVLC did not make use of Topino's marquetry panels, but almost certainly executed these in his own atelier. His examples of ‘naif’ marquetry are highly individual both in choice of objets and arrangement, and are clearly his own invention (C. Roinet, Roger Vandercruse dit La Croix 1727-1799, Paris, 2000, p. 64). Identical ormolu mounts, the entrelac on the frieze and the idiosyncratic chutes, are also found on other RVLC-stamped marquetry furniture of circa 1770, a bonheur-du-jour à guichets and a bonheur-du-jour à gradin, illustrated Roinet, ibid., figs. 29, 36.
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