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A LOUIS XVI ORMOLU-MOUNTED SEVRES PORCELAIN, MAHOGANY AND SYCAMORE MARQUETRY GUERIDON BY MARTIN CARLIN, CIRCA 1782-83, PROBABLY SUPPLIED BY DOMINIQUE DAGUERRE, THE UPPER PORCELAIN PLAQUE WITH BLUE INTERLACED LL MARK ENCLOSING DATE LETTER EE FOR 1782, PAINTER'S MARK FOR JEAN-BAPTISTE TANDART AND GILDER'S MARK FOR JEAN LE CHAUVAUX IN GOLD The circular galleried top with a plaque painted with a ribbon-tied basket of flowers on a white ground within a fond pointillé blue border, above a rosette trellis marquetry frieze with a blue silk-lined drawer, on ormolu tripod base with mille-raies panels cast with foliage joined by a circular galleried undertier with a plaque painted with a ribbon-tied trophy emblematic of Love inscribed 'SEMPER ET IDEM' and 'OMNIA VINCIT AMOR' on scrolled feet and castors joined by a stretcher centred by a galleried rosette marquetry, stamped 'M.CARLIN' and 'JME', with label printed '1193' and Rothschild inventory number '1193R', with a depository 'Chenue' label 29 ? in. (75 cm.) high; 14 ? in. (37.5 cm.) diameter
Martin Carlin, ma?tre in 1766.
With its delicately-painted soft-paste Sèvres porcelain plaques, fine mahogany and sycamore marquetry and unusual gilt-bronze supports, this jewel-like table by the celebrated ébéniste Martin Carlin is an incredibly rare example of the most luxurious and fashionable furniture of the Louis XVI period produced by the marchand-merciers, almost certainly by Dominique Daguerre. This gueridon was according to family tradition, acquired by Baron Gustave de Rothschild (1829-1911) from a member of from the Spanish Royal family.
The unusual gilt-bronze supports of this gueridon or table chiffonière closely relate to those found on a gueridon now at the Frick Collection, New York (Acc. Num. 1918.5.61), which in turn corresponds almost exactly in form and decoration to a water-colour drawing in the Metropolitan Museum of Art, New York [see illustration]. The latter is inscribed 'Une jolie table ou chiffonnière a deux plateau de porcelain de France tous les ornements son ten bronze doré au mat sans aucun bois elle est de forme ovale' ; it was one of many provided by the marchand-mercier Daguerre to Duke Albert of Sachsen-Teschen and his wife Maria-Christina. As Charles Parker has convincingly argued, the highly-finished character of these drawings suggests they were made as 'sales material' for the dealers' clients rather than as working designs for an ébéniste (C. Parker et al., The Metropolitan Museum of Art Bulletin, May, 1960, p. 281 and F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. I, p. 284). This is further confirmed by an entry in the Mémoires of Marie-Christine of Sachsen Teschen in 1786, where she writes: 'Nous sommes allé voir au reste encore quelques uns des autres magasins d'ouvrages les plus remaquables alors en cette ville, comme ceux d'ébénisterie et de bronze de Mrs Arnault, D'Aguerre et Frost, celui de porcelaine de Japon et Lac des Indes d'un nommé Joulliot’ (see T. Wolversperges, 'Les achats parisiens de Charles-Alexandre de Lorraine (1712-1780)', in Collectionner dans les Flandres et la France du Nord au XVIIIe siècle, 2005, pp. 183-201). The present table shares with the Frick example related audacious gilt-bronze legs although the frieze and under stretcher are inlaid with dot-trellis parquetry, a feature characteristic of Carlin.
The ormolu supports cast with leaves and mille-raie motifs are also closely related to the uprights of a commode attributed to Martin Carlin, mounted with Sèvres porcelain plaques and chinoiserie-painted mirror panels, sold at Christie’s, London, 25 March 1971, lot 69. This commode, incorporating a variety of luxurious materials such as the present piece, is a typical assemblage of the marchand-mercier Daguerre.
DOMINIQUE DAGUERRE
The date of 1782 of the upper Sèvres porcelain plaque of the Rothschild guéridon clearly indicates a special commission of the m