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一对精美的路易十六风格的鎏金和斑驳的青铜四灯壁挂件
£38,000
一对精美的路易十六风格的鎏金和斑驳的青铜四灯壁挂件 由Emmanuel-Alfred (dit Alfred II) Beurdeley，巴黎。 每个模型都是...
尺寸
高度：63厘米（25英寸）宽度：42厘米（17英寸）
深度：20厘米（8英寸）
印刷品描述
一对精美的路易十六风格的鎏金和斑驳的青铜四灯壁挂件
由Emmanuel-Alfred (dit Alfred II) Beurdeley，巴黎。
每个模型都有一个赤膊的古典长袍人物，两边是两对滚动的树枝。人物站在一个托架上，下面是由葡萄包裹的胸腺，下面有叶子的痕迹。
背面印有 "BY "字样
法国，约1880年。
这款壁灯的一对被记录在一张老照片上，照片上是位于巴黎克里希街的博尔德利住宅的小沙龙。一对壁灯也记录在1895年5月6日至9日的博德利第一次拍卖会上，拍品162被描述为 "Paire d'appliques de style Louis XVI, en bronze doré il quatre bras porte-lumières avec rinceaux lt têtes d'aigle soutenus par des statuettes de femme en bronze p. itiné adossées contre un thyrse et placées sur des culs-de-lampe que terminent des grappes de raisin"。
这些精美的壁饰是按照路易十六时期的希腊风格设计的，是一对以前在圣多纳托的Demidoff收藏品的变体，有四个分支，而不是两个，1880年在拍卖会上售出，现在在底特律艺术学院（如H. Ottomeyer, P. Pröschel等，Vergoldete Bronzen，慕尼黑，1986，第一卷，291页，图4.16.12）。古典风格的加里特人的形象是受到一对烛台上装饰的灵感，这对烛台是由青铜器专家François Rémond（1747-1812）制作的。
日期
约1880年
原产地
法国
中型
鎏金铜和铜化铜
签名
背面印有 "BY "字样
Emmanuel-Alfred (dit Alfred II) Beurdeley (1847-1919)
The Beurdeley family were a flourishing dynasty of three generations of fine quality cabinetmakers working from 1818 to 1895. The firm was particularly well known for its exceptional metalwork, most commonly basing their designs on important eighteenth century examples. Their mercurial gilding and hand chasing are often of such a high standard that it is difficult to distinguish them from late eighteenth century work.
The founder of the dynasty Jean Beurdeley (1772-1853) was a Burgundian craftsman conscripted into the Napoleonic army. After hostilities ended in 1815 he settled in Paris opening a shop for curiosités and working as a latter day marchand mercier. Initially based on the rue Saint-Honoré, in 1840 Beurdeley moved to the famous Hanover Pavilion situated on the corner of rue Louis-Legrand and boulevard des Italiens, and the business was run by his only surviving son, Louis-Auguste-Alfred (1808-1882). This successful business, which had numerous official commissions including in 1853 the marriage coffer for the Empress Eugénie, was continued by Louis’ son, Alfred-Emmanuel-Louis (1847-1919).
The business continued in its traditional style with very few variations until 1895. Alfred, along with the most famous artists of the period, took part in the 1878 Paris Exposition Universelle where he won the gold medal. Following on from this glory, he went on to open a shop in New York.
His participation in the 1883 Amsterdam Universal Exhibition drew even further attention to his work, and possibly as a result he was awarded the Ordre National de la Légion d’Honneur, France’s highest official mark of recognition.
The incredible quality of each generation’s work ranked the firm of Beurdeley as pre-eminent amongst Parisian makers of meubles de luxe.
Bibliography:
Ledoux – Lebard, Denise. Les Ébénistes du XIXe siècle, Les Editions de L’Amateur, (Paris), 1984; pp. 75-82.
Mestdagh, Camille & Lécoules, Pierre. L’Ameublement d’Art Français, 1850-1900, Les Editions de L’Amateur, (Paris), 2010; pp.262-276.
Meyer, Jonathan. Great Exhibitions – London, New York, Paris, Philadelphia, 1851-1900, Antique Collectors’ Club, (Woodbridge, UK), 1984 ; pps. 175, 247, 269, 270, 290, 298.
皮埃尔-勒库尔收藏，巴黎。
这对作品在C. Mestdagh, L'Ameublement d'art français 1850-1900,Les éditions de l'Amateur, Paris, 2010, p. 263 (fig. 308).
