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全球拍卖首页 > Christie's UK > 藏家尚品：欧洲家具、工艺精品及瓷器 > Lot 119
A LATE LOUIS XV ORMOLU-MOUNTED TULIPWOOD, BOIS SATINE, SYCAMORE, FRUITWOOD MARQUETRY AND PARQUETRY BONHEUR-DU-JOUR
英国 北京时间
2019年11月13日 开拍 / 2019年11月13日 截止委托
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拍品描述 翻译
A LATE LOUIS XV ORMOLU-MOUNTED TULIPWOOD, BOIS SATINE, SYCAMORE, FRUITWOOD MARQUETRY AND PARQUETRY BONHEUR-DU-JOUR BY JEAN-FRANCOIS LELEU, CIRCA 1764-1770 The top of the superstructure with three-quarter gallery and inlaid with three cartouches of flowers and a laurel wreath, above a central book spine tambour and drawer flanked to each side by a door inlaid with a vase and foliage, the top inlaid with a basket of flowers flanked by panels of flower and trellis parquetry, the frieze similarly inlaid, the reverse quarter veneered, the drawer with a sliding hinged gilt-tooled blue leather-lined writing-surface enclosing a blue silk-lined compartment flanked by a sliding pen compartment fitted with three silvered inkwells, on cabriole legs headed by foliate and floral caps and conforming sabots, stamped twice 'J.F LELEU' and 'JME' 35 ? in. (89.5 cm.) high; 30 in. (76 cm.) wide; 19 ? in. (48 cm.) deep Jean-Fran?ois Leleu, ma?tre 1764. This important Louis XV marquetry and parquetry bonheur-du-jour of early neoclassical transitional form by Jean-Fran?ois Leleu, ma?tre in 1764, demonstrates the stylistic similarity between the furniture executed by Leleu in his early career as an independent ébéniste and that of his former master, Jean-Fran?ois Oeben (ma?tre in 1761), renowned for his mechanical furniture. The sinuous outline of the lower section of this bonheur-du-jour is closely related to a table méchanique by Oeben, formerly in the collection of the marquis d’Argenson, now in the Musée Calouste Gulbenkian (illustrated R. Stratmann-Dohler, Jean-Fran?ois Oeben 1721-1763, Paris, 2002, p. 28). This table also features virtually identical trellis parquetry on the frieze – evidently a favoured pattern for Oeben and Leleu – found on a table méchanique ‘à deux fins’ (a combined dressing and writing table) by Oeben, now in the Louvre, and a bureau-a-cylindre by Leleu, circa 1767-70 (ibid., p. 93); sold ‘The Exceptional Sale 2014’, Christie’s, London, 10 July 2014, lot 38. The delicate rendition and superb quality of the floral marquetry of this bonheur-du-jour can be compared to Oeben’s floral inlay. Evidently, both were referring to Louis Tessier’s Livre de Principes de Fleurs, first published in 1755, as were other ébénistes such as Jean-Henri Riesener (ma?tre in 1768), another of Oeben’s apprentices. An engraving entitled Livre de corbeilles et vases de fleurs was perhaps the inspiration for the marquetry table top of a further table ‘à deux fins’ by Leleu, now in the Getty Museum; this table also bears the characteristic trellis parquetry found on the bonheur-du-jour offered here (ibid. pp. 53; 96-97). A near-identical floral marquetry inlay also appears as the central panel of a breakfront commode by Oeben (formerly in the Bensimon collection, ibid. p. 53), and another comparable marquetry tableaux de fleurs, attributed to Oeben, can be seen on a commode probably by Jean-Pierre Latz, ma?tre in circa 1740, supplied to the Dauphine at Choisy in 1756-57 (sold Christie’s, New York, 2 November 2000, lot 20). In the Wallace Collection there is a combined dressing and writing-table that may date to the very months between Oeben's death and the establishment of Leleu's own workshop (P. Hughes, The Wallace Collection Catalogue of Furniture, London, 1996, Vol. II, No. 210). It is unstamped but bears Leleu's incised name: he probably finished it before obtaining his own stamp but must have wanted to establish his authorship of this superb piece nonetheless. The influence of Oeben is paramount, but in both cases Leleu has created a novel and original piece, taking his master's inspiration a step further and establishing himself as a creative artist. Please see www.christies.com for further information on this lot.

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