French 19th Century Louis XVI Greek Style Ormolu Inkwell Boin-Taburet Paris

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French 19th Century Louis XVI Greek Style Ormolu Inkwell Boin-Taburet Paris

Name: French 19th Century Louis XVI Greek Style Ormolu Inkwell Boin-Taburet Paris
Brand: Boin-Taburet
Rating: 4.8 (11 reviews)

About the Item

A French 19th century Louis XVI style Ormolu inkwell An Ormolu Double inkwell decorated with Greek-style latticework, rosettes and friezes, highlighted with drapery. The dildos decorated with piastre friezes, shaped like floral buttons and foliage. After the design by Philippe-Claude Montigny Signed Boin-Taburet Paris and numbered 47017 Glass ink containers, one slightly damaged Louis XVI Greek Style Circa 1880 Emile Taburet, jeweler, exhibited in 1880 at the exhibition of UCAD, "the metal". His stamp was crossed in 1881. He associated with his son-in-law, Georges Boin antiquaire, under the name "Boin-Taburet", circa 1880. Together, they exhibited at the World Fair in Paris in 1889. After the famous design by Philippe-Claude Montigny who creat-ed furnitures and objects in the Greek taste.The return to the classic taste in reaction to the excess of the rocaille originated in the 1750s. While some architects such as Blondel or Contant d'Ivry advocate a measured modernism, others such as the painter Louis-Joseph Le Lorrain or scholars such as the Count of Caylus enjoy an extreme and refined rereading of ancient art. The Count of Caylus (1692-1765), a man of Letters with a passion for antiqui-ties, seems to be one of these precursors. The choice made in his collections of a Roman cenotaph of porphyry dating from the second century, to make it his tomb in the church of Saint-Germain-l'Auxerrois, is to be put directly in connection with this renewal and the an-cient sources which are not long to be reinterpreted. The commission of the collector Ange-Laurent Lalive de Jully (1725-1779) is also of great importance. Passionate financier of the Arts, introductor of the ambassadors of Louis XV from 1756, he placed an order for a set of precursor furniture composed of an office, his cardboard, a shell, an armchair and an ink-well (A. Forray-Carlier, Le mobilier du château de Chantilly, Dijon, 2010, n. 10, p. 57). His portrait by Jean-Baptiste Greuze at the National Gallery of Art in Washington presents two of these innovative creations: the high-back chair and the flat desk. The impact of the modernism of this furniture, whose office is currently kept in the castle of Chantilly follow-ing a purchase by the Duke of Aumale, was immense. Some commentators spoke of creation «in the Greek style», an expression which then generally refers to all that claimed of antiquity. The Lorrain had been entrusted with this realization and he can be considered as one of the singers of this nascent style. Others, such as the engraver, historian, and col-lector Pierre-Jean Mariette, immediately referred to the great style of André-Charles Boulle, establishing a link with the Louis-Fourteen creations. This «Greek-style» denomination had a great success and described this fashion that broke through Paris during the decade of the 1760s. For example, Lalive himself complained about it in the Catalogue Historique, which he published in 1764, stating that even shop fronts were now in this fashion. The humorous engravings of the painter Alexandre Petitot in the Greek Masquerade perfectly denounce these excesses (A. Petitot and B. Bossi, Greek Masquerade, Parma, 1771). Philippe-Claude Montigny (1734-1800), a key figure in Parisian cabinetmaking at the end of the reign of Louis XV and the reign of Louis XVI, was the son of Louis Montigny, a privileged cabinetmaker in the Faubourg Saint-Antoine. He succeeds his father and takes over the family workshop, courtyard of Juiverie, in the district of Bastille. He then collabo-rated with his cousin René Dubois (1734-1798) whose workshop prospered on Rue de Cha-renton in the late 1760s. Dubois is also one of those cabinetmakers who attract a prestigious clientele with a taste influenced by the emerging neoclassical style and renewed interest in Boulle furniture. In conjunction with this cooperation, Montigny was in direct contact with works from the Great Century. Indeed, with Etienne Levasseur, he was in charge of the res-toration of some furniture made by André-Charles Boulle and forming part of the collections of the Crown (today at the Louvre Museum, cat. V2314, V2316, V4834, V4835). But Mon-tigny is best known as one of the main initiators of the first Louis XVI style. Like our office, he particularly likes the rich ebony veneers and the contrast that this essence can produce with the gilding of bronzes.

Creator:
Boin-Taburet (Maker)
Dimensions:
Height: 5.12 in (13 cm)Width: 13.39 in (34 cm)Depth: 6.7 in (17 cm)
Style:
Louis XVI (In the Style Of)
Materials and Techniques:
Glass,Ormolu,Molded
Place of Origin:
France
Period:
1880-1889
Date of Manufacture:
circa 1880
Condition:
Wear consistent with age and use. one of the glass ink container slightly damaged.
Seller Location:
Saint-Ouen, FR
Reference Number:
1stDibs: LU2612331686682

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