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Attributed to Emmanuel Zwiener
A Fine Louis XV Style Gilt-Bronze and Vernis Martin Mounted Side Cabinet
£65,000
A Fine Louis XV Style Gilt-Bronze and Vernis Martin Mounted Side Cabinet, Attributed to Emmanuel Zwiener. This cabinet has a shaped pink and red mottled...
尺寸
Height: 118 cm (47 in)Width: 130 cm (52 in)
Depth: 48 cm (19 in)
Weight: 120 kg
印刷品描述
A Fine Louis XV Style Gilt-Bronze and Vernis Martin Mounted Side Cabinet, Attributed to Emmanuel Zwiener.
This cabinet has a shaped pink and red mottled marble top above an acanthus cast frieze flanked by female herm figures to the angles, below is a central cupboard door inset with a finely painted vernis Martin panel depicting Perseus astride Pegasus, hastening to the rescue of Andromeda, and enclosing two shelves
; the shaped apron centred by a finely cast Bacchic mask, the legs terminating in acanthus and lion paw sabots.
Marked ‘ZN’ to the back of the gilt-bronze mountings for Emmanuel Zwiener and stencilled to the reverse ‘KRIEGER PARIS / FAUBOURG ST. ANTOINE’
France, Circa 1890.
Two other examples of this important model of cabinet or ‘meuble à hauteur d’appui’ are recorded to be stamped E. Zwiener and ‘ZN’ to the back of the gilt-bronze mountings for Emmanuel Zwiener of Paris. This example is stencilled to the reverse ‘KRIEGER PARIS / FAUBOURG ST. ANTOINE’ which indicates that it was made by Emmanuel Zwiener for Maison Krieger who is known to have retailed furniture made by Zwiener and his contemporary François Linke. The angle mounts of busts with laced bodices and ruffle-collars, a reference to the work of the celebrated Régence ébéniste and sculpteur, Charles Cressent, are a known Zwiener model (see J. Meiner, ‘Berliner Belle Epoque’, 2014, Abb. 189 p.130).
The corner bust mounts are a documented model by Zwiener as illustrated in J. Meiner, ‘Berliner Belle Epoque’, 2014, Abb. 189 p.130.
The technique of vernis Martin was perfected by four brothers who produced what is considered to be the finest form of European japanning, lending their name to what later became a generic term. The elder brother, Guillaume (d. 1749) and Étienne-Simon (d. 1770) were granted a monopoly for producing imitations of Chinese and Japanese lacquer in 1730, which was renewed in 1744. Vernis Martin was developed from a varnish called cipolin. It is remarkably lustrous and fine in texture and produces an array of colours ranging from greys, greens and blues and enhanced by gold dust beneath the surface producing a sparkling finish. This lengthy process requires the application of as many as forty layers to be applied to the surface, each of which is then polished to result in the required depth and finish.
See also another example in the collection of Adrian Alan (Ref No : B75010) and another illustrated in C. Payne, ‘Paris Furniture: The Luxury Market of the 19th Century’, 2018, p. 563.
Another cabinet of this model illustrated in C. Payne, ‘Paris Furniture: The Luxury Market of the 19th Century’, 2018, p. 563.
日期
约1890年
原产地
法国
中型
Mahogany and Gilt-Bronze, Vernis Martin
签名
Marked ‘ZN’ to the back of the gilt-bronze mountings for Emmanuel Zwiener and stencilled to the reverse 'KRIEGER PARIS / FAUBOURG ST. ANTOINE'
ZWIENER
Emmanuel Zwiener (1849-after 1907)
Julius Zwiener (1867-1922)
The most recent research indicates that there were three Zwiener brothers from Herdon, Germany. The eldest brother Joseph had by the 1880s established a substantial workshop in the city of Breslau in Silesia, now in Western Poland. His younger brothers Emmanuel and Julius were, by the same time, working in Paris. Recorded from 1880 with workshops at 12, rue de la Roquette they established themselves as premier haut luxe cabinet makers of the period, producing elegant pieces of furniture replicating royal models from the Garde-Meuble National of France, most notably a replica of the celebrated Bureau de Roi by Jean-Henri Riesener and Jean-François Oeben which Zwiener supplied to Ludwig II at Herrenchiemsee, and was placed in the King’s study in 1884. Their own creations were a dynamic interpretation of the French Rococo style. Zwiener’s furniture is often inlaid with the finest marquetry and set with ambitiously modelled ormolu figural mounts.
Zwiener’s production culminated in being awarded the coveted medaille d’or for a rococo style vernis Martin-decorated serre-bijoux cabinet at the Paris 1889 Exposition universelle. It subsequently entered the collection at Gatchina of Empress Maria Feodorovna of Russia and was most recently sold in London in 2011.
The jury at the 1889 exhibition noted:
“dès ses débuts d’une Exposition universelle, [il] s’est mis au premier rang par la richesse, la hardiesse et le fini de ses meubles incrustis de bronzes et fort habilement marquetis” (“from his debut at the exhibition, [Zwiener] has been in the top tier for his furniture of great richness, boldness and finished with bronzes and skilful marquetry”).
Exceptional jewel cabinet shown by Emmanuel Zwiener at the Exposition universelle in Paris in 1889. It was bought by Maria Feodorovna, Empress of Russia (1847-1928).
At the 1889 Paris Exhibition it is thought that Tsar Alexander III also bought from Zwiener a replica of the Bureau de Roi. It is recorded in the Russian Imperial collection in a portrait of Nicholas II painted in 1914 by Baron Ernst Friedrich von Liphart (1847–1932).
Tsar Nicholas of Russia standing beside his replica of the Bureau de Roi which was made by Zwiener in 1889. Painted by Baron Ernst Friedrich von Liphart (1847–1932).
Zwiener supplied furniture to an elite international cliental including some of his most famous pieces for the New York mansion of the financier and art collector Charles Tyson Yerkes (1837–1905). Zwiener furniture is also recorded at De Haar Castle, the Netherlands, probably originally supplied to Etienne and Hélène de Zuylen, née de Rothschild for their Paris home.
Kaiser Wilhelm II observed Zwiener’s success at the 1889 Paris Exhibition and with Royal patronage requested that Zwiener work in Germany. Subsequently, Zwiener made a suite of exceptional bedroom furniture for the Kaiser which was exhibited to Germany’s credit at the 1900 Paris Exhibition. The suite was further exhibited in Berlin and then installed at the Berlin Palace but was lost after World War II, only resurfacing at Sotheby’s New York in 1989. Many other pieces executed by Zwiener for the Prussian royal palaces were brought to Huis Doorn in Utrecht in 1918, where the Kaiser lived in exile until his death in 1941, and remain there.
Zwiener’s exceptional furniture made for Kaiser Wilhem was shown at the Paris Exposition universelle in 1900 and here at the Berlin Exhibition in 1901.
The gilt-bronze mounts to furniture by Zwiener were often marked to the reverse with the maker’s initials. Several of Zwiener’s mounts have been found to have a ‘Z’, ‘ Zw’, a ‘IZ’, ‘NZ’, ‘ZN’ or ‘ZJ’ on the reverse. These marks exist on the master models from which the bronzes are cast and appear on furniture identified as being made in Paris or Berlin. The stamps ‘E. ZWIENER’ and ‘J. ZWIENER’ to the wood are also known.
It is thought that when Julius moved to Berlin, Emmanuel retired selling the 12, rue de la Roquette workshops for 10,000 francs to Jean-Henri Jansen (1854-1929), founder of the decorating firm Maison Jansen. The Parisian business was renamed ‘Zwiener Jansen Successeur’, and Jansen continued to faithfully produce Zwiener’s creations, using the original models. Pieces from this time are sometimes stamped ‘MON ZWIENER / JANSEN SUCR’ to the carcass.
This spectacular cabinet on stand is one of Zwiener’s most magnificent creations (Collection Adrian Alan).
参考文献。
Ledoux-Lebard, Les Ébénistes du XIXe Siècle, (Paris), 1984, pp. 645-648.
Mestdagh, Camille & Lécoules, Pierre. L’Ameublement d’art français : 1850-1900, Les Editions de l’Amateur, (Paris), 2010; pp. 301-305.
Meyer, Jonathan. Great Exhibitions – London, New York, Paris, Philadelphia, 1851-1900, Antique Collectors’ Club, (Woodbridge, UK), 2006; p. 270, pls. H14; p. 299, p.302.
Payne, Christopher. Paris Furniture – the luxury market of the 19th century, Éditions Monelle Hayot (Paris), 2018; pp. 555-569.
C. Payne, ‘Paris Furniture: The Luxury Market of the 19th Century’, 2018, p. 563.
