Medal André-charles Boulle Bolt Ebèniste D King Founder Marquetry Ceres

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Seller: artistic.medal ✉️ (4,944) 100%, Location: Strasbourg, FR, Ships to: WORLDWIDE, Item: 186316384852 Medal André-charles Boulle Bolt Ebèniste D King Founder Marquetry Ceres.

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239- tir43 Bronze medal from the Paris Mint (cornucopia hallmark from 1880). Minted in 1971. Some minimal traces of handling. Beautiful black and copper patina. Engraver / Artist / Sculptor : Émile ROUSSEAU (1927-2010). Dimensions : 81mm. Weight : 218 g. Metal : bronze. Hallmark on the edge (mark on the edge)  : cornucopia + bronze + 1971. Quick and neat delivery. The stand is not for sale. The support is not for sale. André-Charles Bolt known as André-Charles Boulle, born November 10, 1642 in Paris, died February 29, 1732 in the same city, is a French cabinetmaker, founder, engraver, gilder, and designer of the 17th and 18th centuries. Cabinetmaker to the king, he was the first of his time to apply gilded bronze to cabinetmaking. The main cabinetmaker of his century, his longevity and his success with his contemporaries explain the profusion of his works. The first years André-Charles Boulle was born on November 10, 1642. He is the third child of Johann Bolt, whose French name becomes Jean Boulle, a journeyman ebony carpenter from the Duchy of Gelderland who settled in Paris in 1637, and of Légère Thorin1. His father taught him many artistic techniques during his youth, in particular drawing, sculpture, repair, carving, gilding, as well as painting. Johann made him abandon the latter, for which André-Charles Boulle had a preference, in favor of carpentry because the boy showed great inclination for the latter. The young man's talent was such that, according to Father Orlandi, Bernini, who came to France in 1665, befriended him and gave him advice on the technique of architectural drawing. From 1666, when he had not yet reached the age of majority, the name of André-Charles was mentioned as having acquired Parisian mastery, which his father had never obtained. The family workshop is located on rue de Reims, opposite Sainte-Barbe college. Thanks to the reputation of the young artist and a growing number of orders, the small workshop quickly expanded and employed the whole family. His rapid social ascension appears in the marriage contract of André-Charles' sister, Constance, married to Philippe Poitou, future king's cabinetmaker, who cites as witnesses a prosecutor, a lawyer at the Parliament of Paris, a controller general of the Navy as well as as an auditor of the Chamber of Accounts2. The workshop then produces marquetry made from “real wood”, that is to say using various species of wood, with which it creates very popular “flower paintings”. Around 1666, he joined the Gobelins factory, which the minister Jean-Baptiste Colbert had just installed to supply Versailles with art objects. While maintaining his workshop, he worked there as a decorator and wood sculptor under the artistic direction of the painter Charles Le Brun, who provided the craftsmen with numerous model drawings, while granting them a certain freedom of interpretation. Royal recognition First royal order Like the bourgeoisie and the Parisian nobility, the royal family took an interest in the cabinetmaker from 1672, through Jean-Baptiste Colbert by ordering from him the platform of the small bedroom of Queen Marie-Thérèse at Versailles3. This support was confirmed in May 1672 when the accommodation of the “Galleries du Louvre” of the cabinetmaker Jean Macé, who died on the 14th of the month, was allocated to André-Charles, who was preferred to Pierre Gole, who had been the king's cabinetmaker for 25 years. . On this date, the king is in Flanders with his army. Colbert, who had made his choice between the two suitors, had the patent signed on May 20 granting housing in Boulle to the queen then regent. The minister only informed the king two days later, on the 22nd, telling him that Boulle was “the most skilled cabinetmaker in Paris”. The decision having already been made, the king, who did not know Boulle personally, could only acquiesce and replied “accommodation of the Galleries to the most able”3. Being admitted to the Louvre is a sign of royal favor, but it is also a privilege of freedom in relation to the Parisian corporations. The resulting prestige leads to a marked increase in orders. Boulle then had two workshops, that of the old rue de Reims and that of the Louvre, for which the whole family worked, including the sister of André-Charles, the first woman known as a cabinetmaker4. In the years that followed, Boulle began working with tortoiseshell and metal marquetry, which would become his specialty. Installation at the Louvre On Mars 1, 1677, André-Charles married Anne-Marie Leroux in the Saint-Sulpice church in Paris. She is herself the daughter of a cabinetmaker and seven children were born from their union. The year of their marriage, the workshop continued to grow. Constance Boulle having died the previous year, Philippe Poitou remarried and in turn became the king's cabinetmaker4. It seems that it was at this moment that Colbert undertook to entrust Boulle with a large space at the Louvre, making his studio the largest in Paris. The palace was gradually deserted during this period, the king settling in Versailles and the queen mother, whose apartments were not far from the workshop, having died in 1666. In addition, work undertaken to erect a theater was abandoned upon the death of the latter. Apogee Wardrobe with parrots, made between 1680/1690 and 1700 (Louvre). Part of the success can be explained by the supplies to the construction site of the Palace of Versailles for which the workshop produced, from 1680, a number of prestigious pieces of furniture. As early as 1680, there was an order from the queen for a portable organ cabinet, the cost of which was estimated at 8,000 pounds (knowing that the average daily wage in the 17th century was slightly less than one pound). In 1682, the Grand Dauphin ordered the workshop to create his first Mirror Cabinet, for which the cabinetmaker received 59,900 pounds. Due to the importance of demand, the workshop only produces to order6. These years of glory were an opportunity for Boulle to acquire land assets with the purchase of land as well as an investment house, located near Paris. A collector of drawings and prints, he also took the opportunity to acquire numerous works. However, Boulle regularly advanced money for his royal orders and payments were often delayed. So much so that the king's payments were no longer enough to cover the 169,000 pounds he had committed to carrying out the royal works7. The cabinetmaker must then go into debt before being paid some time later from the royal treasury. This is a period of lower production, although it remains remarkable for the time. The 1700s marked the resumption of royal orders with the order of furniture for the Château de la Ménagerie for the Duchess of Burgundy. In 1707, the Prince of Condé also ordered him and, in 1708, it was the turn of Jules Hardouin-Mansart, to whom Boulle was close, to obtain from him the order of two chests of drawers for the Trianon of Versailles8. Last years The death of Louis XIV in 1715 marked a turning point. André-Charles Boulle, aged 72, decided to hand over the reins to his four sons, who would continue his work. An inventory tells us that the workshop then employed around thirty workers and kept around a hundred pieces of bronze furniture and objects. Boulle will, however, continue his activity, thus creating two medallions for the Director of Coins and Medals where the gilded bronzes imaginatively follow the fashion of caprice (frontal and side cartouches, Egyptian heads). A fire, undoubtedly arson, broke out in his accommodation at the Louvre on August 30, 1720 at three o'clock in the morning, destroying a large part of his studio. The losses include its stock of precious wood ("all wood, fir, oak, walnut, panel or mairin, Norwegian wood, amassed and preserved for a long time for the goodness and quality of the works") of a value estimated at 12,000 pounds. Contributions Boulle's contributions were made possible thanks to his multiple talents as a designer, bronze worker, cabinetmaker, of course, but also thanks to his inventiveness, but also thanks to the support and royal orders without which it would not have been possible for him to assert his genius. He therefore remains one of the greatest cabinetmakers of all time, if not the greatest. Ebony cabinet with marquetry by André-Charles Boulle, (crown furniture) engraving by Jules-Ferdinand Jacquemart, (1837-1880), engraver. The specificity of Boulle's work consists of decorating the furniture with marquetry veneer made of different materials: timber, metal (tin, brass) and tortoise shell, cut according to a very precise drawing and glued to the frame of the piece of furniture. like a puzzle. It is the Boulle marquetry which today bears his name. In order to save money and take advantage of expensive materials, he used a positive/negative inversion system: the part (where the scale serves as the background and the metal makes the pattern) and the counterpart (where the metal makes the background and the scale the pattern). The two temporarily glued materials were stamped according to the chosen design, which then made it possible, by separating them, to match the patterns without additional work. The scale plate, imported at great expense, could thus be used twice. Most often, a black ebony veneer highlighted the materials to assert the brilliance and sumptuousness of the pieces. Using this technique, he created numerous pieces of furniture adorned with very rich gilded bronze decorations: cabinets and base of cabinets, flat desks, chests of drawers, consoles, ducts, cabinets, clock cases, mirrors, etc. He was thus able to demonstrate the adaptability of his technique to very diverse types of objects, while demonstrating the extent of his know-how. According to a preconceived idea, Boulle would only have brought to its peak, thanks to his talent, an existing technique based on scale and metal invented in the Netherlands. In reality, as the research of Jean-Nérée Ronfort and Jean-Dominique Augarde has shown, the first use appears in a parquet floor of the Château de Maisonoulle collector A passionate and unreasonable art collector, he was several times close to financial ruin and owed his salvation to the intervention of the Sun King Louis XIV, of whom he was then "first cabinetmaker". For the anecdote, Boulle's art collection, made up of very diverse works, known in its time as one of the most beautiful and complete (Rubens, Antoine Van Dyck, Pierre Mignard, Frans Snyders, Sébastien Bourdon, Charles Le Brun and many others), then estimated at 370,770 pounds, disappeared almost entirely in the fire which ravaged his workshop. Family     David Boulle (died before 1616), bourgeois of the town of Verrière in the county of Neufchâtel9,10;         Pierre Boulle11 (around 1595-1649), turner and carpenter to the king, housed in the Louvre galleries, married by contract of September 12, 1616 with Marie Bahuche (around 1595-1648) daughter of Pierre Bahuche, Lyon merchant and Judith Soubert, sister of Marguerite Bahuche, painter to the king, married to Jacob Bunel;             Jacques Boulle (1618-around 1625);             Corneille Boulle (1619- )             Paul Boulle (1621- )             Isaac Boulle (1625- )             Jacques Boulle (1626- ) whose godfather was Jacques Sarrasin, doctor of medicine;             Marguerite Boulle (1628- )             Madeleine Boulle (1631- ) married in 1649 to Jean de Nogeant, lord of Pommerolle, physician to His Royal Highness, war commissioner;         Jean Boulle (1610-1680), merchant cabinetmaker, died in the Louvre galleries, married to Légère Thorin;             André-Charles Boulle (1642-1732), married in 1677 to Anne Marie Le Roux (1657- ) Four of his sons continued his work: Jean-Philippe Boulle (1678-1744); Nicolas Boulle (1679-1688); Pierre-Benoît (1680-1741)12; Constance Légère Boulle (around 1682-); André-Charles II known as “Bolle de Sève” (1685-1745)13; Charles-Joseph (1688-1754)14; Henri Auguste Boulle (1690- ) Like the bourgeoisie and the Parisian nobility, the royal family took an interest in the cabinetmaker from 1672, through Jean-Baptiste Colbert by ordering from him the platform of the small bedroom of Queen Marie-Thérèse at Versailles3. This support was confirmed in May 1672 when the accommodation of the “Galleries du Louvre” of the cabinetmaker Jean Macé, who died on the 14th of the month, was allocated to André-Charles, who was preferred to Pierre Gole, who had been the king's cabinetmaker for 25 years. . On this date, the king is in Flanders with his army. Colbert, who had made his choice between the two suitors, had the patent signed on May 20 granting housing in Boulle to the queen then regent. The minister only informed the king two days later, on the 22nd, telling him that Boulle wa
Métal Bronze
Type Médailles françaises
  • Condition: Used
  • Composition: Bronze
  • Type: Medals french
  • Brand: Unbranded

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