A LOUIS XVI ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND MARQUETRY SECRETAIRE À ABATTANT AND ARMOIRE EN SUITE
A LOUIS XVI ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND MARQUETRY SECRETAIRE À ABATTANT AND ARMOIRE EN SUITE
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A LOUIS XVI ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND MARQUETRY SECRETAIRE À ABATTANT AND ARMOIRE EN SUITE

BY MARTIN CARLIN, CIRCA 1775

細節
A LOUIS XVI ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND MARQUETRY SECRETAIRE À ABATTANT AND ARMOIRE EN SUITE
BY MARTIN CARLIN, CIRCA 1775
Each with a white veined marble top above two frieze drawers and panels of radiating inlay centering a bois de bout marquetry rosette, the secretaire à abattant stamped M.CARLIN JME four times and J. PAFRAT JME, the armoire stamped four times M. CARLIN JME and with paper label '279' to top, the locks stamped FICHET, the armoire later fitted with drawers
62 ½ in. (158.7 cm.) high, 40 ½ in. (102.8 cm.) wide, 15 ½ in. (39.4 cm.) deep
來源
The Giraud Collection.
With Galerie Sedelmeyer, 1894.
Offered Collection of Madame de Polès; Galerie Georges Petit, Paris, 24 June 1927, lot 251.
Succession Madame de Polès; Galerie Charpentier, Paris, 17-18 November 1936, lot 211, purchased by Max Kahn (210,000 F.).
Collection of Mrs. Meyer Sassoon, London.
Collection of Mrs. Derek Fitzgerald; Christie's, London, 23 March 1972, lot 89.
Anonymous sale; Sotheby's, Monaco, 26 May 1980, lot 650.
Anonymous sale; Sotheby's, New York, 17 November 1984, lot 258.
Property from the Collection of the late Matthew Schutz; Sotheby's, New York, 9 December 1994, lot 197.
出版
Jean Nicolay, L'art et la manière des maîtres ebénistes français au XVllle siècle, vol. I, p. 29, fig. E. p. 89.
F.J.B. Watson, Louis XVI Furniture, Paris, 1963, p. 97, pl. 7.
Pierre Verlet, French Furniture and Interior Decoration of the 18th Century, London, 1967, fig. 108.
Pierre Verlet, Les meubles français du XVllle siècle, Paris, 1982, fig. 27.
展覽
Paris, Galerie Sedelmeyer, Marie-Antoinette et son temps, 1894, no. 277.
注意事項
Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country. Please note this lot will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) at 5pm on the last day of the sale. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services. Please consult the Lot Collection Notice for collection information. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk and will be sent with your invoice.

榮譽呈獻

Elizabeth Seigel
Elizabeth Seigel

拍品專文

Martin Carlin, maître in 1766.
Jean Jacques Pafrat, maître in 1785.

One of the most celebrated ébénistes of the Louis XVI period, Martin Carlin appears to have worked almost exclusively for the marchands-merciers. Married to the sister of Jean-François Oeben in 1759 and established au signe de la Colombe in the Grand-Rue du Faubourg Saint-Antoine, Carlin shortly afterwards entered into the longstanding relationship with Simon-Philippe Poirier that would dominate his career. On Poirier's death, Dominique Daguerre succeeded to the business in the rue St. Honoré, and it was almost certainly Daguerre who commissioned these remarkable cabinets.
Jean Jacques Pafrat, maître in 1785, is known to have completed a number of pieces of furniture by Carlin on the latter's death. One example is a porcelain-mounted gueridon in the Jones Collection at the Victoria & Albert Museum, London, reputedly given by Queen Marie Antoinette to Lady Auckland in 1786, it was made and signed by Carlin, and also bears the stamp of Pafrat (see: Jones Collection, catalogue, pl. 28). A secretaire à abattant and matching commode by Carlin is in the Huntington Collection, Pasadena. The veneering is closely related to the present secretaire, with panels of foliate and radiating parquetry, while they also feature the same frieze mount of scrolling foliage (illustrated, S. Bennet and C. Sargentson ed., French Art of the Eighteenth Century at the Huntington, New Haven, 2007, pp. 101-4, cat. 25).

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