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Lot Essay
These exquisite panels by Thomas Compigné, depicting two views of the now lost Royal château de Saint-Hubert, are remarkable for the quality of their execution and the skilful rendition of the perspective. The subject matter depicted and their unusually large size relate them most closely to a pair presented by Compigné to Louis XV and his family in December 1772, the whereabouts of which remain tantalisingly unknown.
A ROYAL COMMISSION?
On 19 December 1772, the Gazette de France reported that Monsieur Compigné, ‘Tablerier [sic] du Roi’ had in the last few days presented Louis XV and his family with two views of the château de Saint-Hubert. The description of these Royal tableaux, depicting the front entrance and the view 'du côte de l’Etang', suggests that the views were virtually identical or indeed very similar perspectives to those depicted here. The dimensions of the tableaux are also remarkably close, ‘un pied de longeur sur dix pouces de hauteur’, approximately 10.7 by 12.8 inches (27.2 by 32.5 cm.) as compared to these panels, 9.25 by 12.25 inches (23.4 by 31 cm.)
The fact that the Royal tableaux would have been presented in a frame might account for the slight inconsistency in size.
The Royal tableaux were described by the Gazette de France on 19 December 1772 as being executed ‘sur écaille blonde' (tortoiseshell), whilst the panels offered here were executed on a pewter ground.
Eighteenth century press consistently described Compigné’s wares as being executed on ‘écaille’ when, in fact, after 1760, he used both tortoiseshell and pewter as materials. It is therefore not inconceivable that the Gazette de France might have wrongly described the foundation material used by Compigné, and that the two pairs are one and the same.
Several references to Compigné’s use of ‘ecaille’ appear in 18th century newspaper accounts:
On 12 August 1765, L’Avantcoureur described: ‘Le sieur Compigné dont le tour produit tous les jours différentes formes sur l’écaille… Cet Artiste offre toujours quelques nouveautés en ce genre; il sait aussi placer un incrusté à jour, gravé des deux côtés, entre deux écailles blondes; ce qui produit le plus ingénieux effet…’. [‘Monsieur Compigné, who daily produces various tortoiseshell objects… This artist consistently offers this type of tortoiseshell novelty; he also knows how to make a moulded plate, engraved on both sides, which is inserted between two sheets of tortoiseshell; creating the most ingenious effect’]
In 1766, ‘La peinture est actuellement unie à la sculpture, sur fond d’écaille ou de composition amalgamée en or de couleur. De prés, de loin, au jour, à la lumière, ces tableaux font egalement un grand effet par le melange, l’assortiment et la transparence des couleurs que l’artiste y sait employer’. [Paint is actually applied onto the moulded plate, which is either tortoiseshell or a metal composite that is golden-coloured. From near or far, in daylight or by candlelight these pictures produce a wonderful effect through the combination and transparency of the colours that the artist is so adept in using.]
In 1795, Duchesne in his Dictionnaire de l'industrie, ou, Collection raisonnée des procédés utiles dans les sciences et dans les arts, tome VI, attempted to clarify Compigné's procedures by describing the composite metal or pewter method: ‘il est a presumer que l’on enduit le moule d’un amalgame de mercure et d’argent, sur lequel on applique une feuille d’etain que l’on presse assez fortement sur le moule pour recevoir l’empreinte. L’amalgame se lie assez fortement avec l’etain pour y devenir adherent. On enleve le tout hors du moule, et l’on peint les objets a volonte en observant seulement de peindre les ciels avec des couleurs terreuses, et le surplus, tells que maisons, arbres, etc., avec des couleurs transparentes’. [Presumably, a mould is coated with a mixture of mercury and silver, and then a sheet of pewter is applied to the mould to receive the impression. The silver foil and mercury mix binds together with the pewter. The whole is then removed from the mould and individual objects are painted; the background with earthy colours, and the rest, such as the château, trees, etc. with transparent colours.]
Comparable examples by Compigné are in the collections of the château de Sceaux (89.27.1-2 and 37.3.1-2). They similarly depict views of the château de Saint-Hubert but are of significantly smaller proportions than the Royal tableaux and the pair here offered. The first set (enamel on pewter) measures 5.71 x 7.49 inches (14.5 x 19 cm), whilst the second set (gouache highlights on pewter) measures 5.71 x 7.49 inches (14.5 x 19 cm.) and 5.9 x 7.3 inches (15 x 18.5 cm.) respectively.
Further related examples, albeit of smaller proportions, are recorded and include a front view of the château, sold Brissoneau, Daguerre, 26 March 2010, lot 206 (15 x 19.5 cm); a pair sold Ader Picard Tajan, 23 February 1978, lots 41A and B (17 x 25 cm); and another - with no indication of size - sold Hotel Drouot, 13 March 1897, lot 67 (‘Deux petits tableaux sur étain: vues du château de Saint Hubert, “exécutées sur le tour par Compigne Tabletier du Roy”. Encadrés’).
Views of édifices and châteaux such as the pair here offered are all the more important that they often represent the only surviving image or rendition of a building since then demolished, as is the case here with the Royal château de Saint-Hubert.
THOMAS COMPIGNÉ
Artist and tabletier to Louis XV, Thomas Compigné, Italian by birth, established his workshop in the rue Greneta, Paris, à l’enseigne du Roi David. As a Royal tabletier, he attracted a number of wealthy clients specialising in precious objects of virtue such as snuff boxes, plaques and portrait roundels. Undoubtedly preeminent in his field, his accomplishments appeared in a number of contemporaneous newspapers.
In January 1756, the Mercure de France reported that: [Compigné] va incessamment mettre au jour différens dessins de sa composition, qu’il exécute sur l’écaille & sur le carton; l’effet de ce travail est d’autant plus frappant qu’il représente le naturel. Ceux qui désireront les avoir sur or & sur argent, ou autres métaux, pourront les lui commander: il les rendra avec autant de précision que tells desseins Chinois, de fleurs, d’architecture, de païsage, & autres qu’on voudroit se procurer. Il double en écaille les tabatieres de carton: il raccommode les unes & les autres, & vend des deux expeces à tres-juste prix, en grous & en detail. On trouvera encore chez lui des assortimens de toutes expeces, en ce qui concerne la Tabletterie.’ [Compigné regularly creates new designs, which he executes in tortoiseshell and 'sur le carton'; the result of this work is all the more remarkable because it is so realistic. Those who desire to have these designs in gold and silver, or other metals, can order them from him; he will render them with as much precision as Chinese designs - flowers, architecture, rural views, etc. – whatever one desires. He adorns snuffboxes with tortoiseshell; he repairs all types of object, and sells both at very fair prices. At his shop one will find everything one might expect from a Tabletterie.]
And, in 1771, l’Almanach Dauphin, writing on the principal dealers and artists of France, described Compigné, as one of the most renown: ‘Cet habile artiste vient d’exécuter de nouvelles tabatières en camayeu travaillées au tour, sur lesquelles sont sculptées en relief des perspectives de paysages et châteaux, conformément aux dessins qui lui sont remis pour modèle… Marchand tabletier privilégié suivant la cour, Thomas Compigné exécuta ainsi de précieux tableaux : notamment des vues de paysages, de ports, de résidences Princières et Royales’. [This skilful artist has just executed new snuff-boxes in camaïeu, worked on the lathe, on which are carved in relief landscape perspectives and châteaux, following the designs which he was asked to follow ... The Royal Marchand-tabletier, Thomas Compigné, executed precious paintings: notably landscapes of ports, royal and aristocratic residences.]
It is interesting to note that the popularity of Compigné's Royal commissions lead the artist to reproduce smaller editions of such commissions, to sell in his shop on the rue Grenata in Paris. A circular Tableau d’ecaille, entitled ‘les Malheurs réparés par la Bienfaisance’ and presented in 1773 to Madame la Dauphine (Marie Antoinette (1755-93)), was reported by the Gazette de France on 24 December of that year as being available in Compigné’s shop in a small form that could be mounted on the top of a snuff box.
A ROYAL COMMISSION?
On 19 December 1772, the Gazette de France reported that Monsieur Compigné, ‘Tablerier [sic] du Roi’ had in the last few days presented Louis XV and his family with two views of the château de Saint-Hubert. The description of these Royal tableaux, depicting the front entrance and the view 'du côte de l’Etang', suggests that the views were virtually identical or indeed very similar perspectives to those depicted here. The dimensions of the tableaux are also remarkably close, ‘un pied de longeur sur dix pouces de hauteur’, approximately 10.7 by 12.8 inches (27.2 by 32.5 cm.) as compared to these panels, 9.25 by 12.25 inches (23.4 by 31 cm.)
The fact that the Royal tableaux would have been presented in a frame might account for the slight inconsistency in size.
The Royal tableaux were described by the Gazette de France on 19 December 1772 as being executed ‘sur écaille blonde' (tortoiseshell), whilst the panels offered here were executed on a pewter ground.
Eighteenth century press consistently described Compigné’s wares as being executed on ‘écaille’ when, in fact, after 1760, he used both tortoiseshell and pewter as materials. It is therefore not inconceivable that the Gazette de France might have wrongly described the foundation material used by Compigné, and that the two pairs are one and the same.
Several references to Compigné’s use of ‘ecaille’ appear in 18th century newspaper accounts:
On 12 August 1765, L’Avantcoureur described: ‘Le sieur Compigné dont le tour produit tous les jours différentes formes sur l’écaille… Cet Artiste offre toujours quelques nouveautés en ce genre; il sait aussi placer un incrusté à jour, gravé des deux côtés, entre deux écailles blondes; ce qui produit le plus ingénieux effet…’. [‘Monsieur Compigné, who daily produces various tortoiseshell objects… This artist consistently offers this type of tortoiseshell novelty; he also knows how to make a moulded plate, engraved on both sides, which is inserted between two sheets of tortoiseshell; creating the most ingenious effect’]
In 1766, ‘La peinture est actuellement unie à la sculpture, sur fond d’écaille ou de composition amalgamée en or de couleur. De prés, de loin, au jour, à la lumière, ces tableaux font egalement un grand effet par le melange, l’assortiment et la transparence des couleurs que l’artiste y sait employer’. [Paint is actually applied onto the moulded plate, which is either tortoiseshell or a metal composite that is golden-coloured. From near or far, in daylight or by candlelight these pictures produce a wonderful effect through the combination and transparency of the colours that the artist is so adept in using.]
In 1795, Duchesne in his Dictionnaire de l'industrie, ou, Collection raisonnée des procédés utiles dans les sciences et dans les arts, tome VI, attempted to clarify Compigné's procedures by describing the composite metal or pewter method: ‘il est a presumer que l’on enduit le moule d’un amalgame de mercure et d’argent, sur lequel on applique une feuille d’etain que l’on presse assez fortement sur le moule pour recevoir l’empreinte. L’amalgame se lie assez fortement avec l’etain pour y devenir adherent. On enleve le tout hors du moule, et l’on peint les objets a volonte en observant seulement de peindre les ciels avec des couleurs terreuses, et le surplus, tells que maisons, arbres, etc., avec des couleurs transparentes’. [Presumably, a mould is coated with a mixture of mercury and silver, and then a sheet of pewter is applied to the mould to receive the impression. The silver foil and mercury mix binds together with the pewter. The whole is then removed from the mould and individual objects are painted; the background with earthy colours, and the rest, such as the château, trees, etc. with transparent colours.]
Comparable examples by Compigné are in the collections of the château de Sceaux (89.27.1-2 and 37.3.1-2). They similarly depict views of the château de Saint-Hubert but are of significantly smaller proportions than the Royal tableaux and the pair here offered. The first set (enamel on pewter) measures 5.71 x 7.49 inches (14.5 x 19 cm), whilst the second set (gouache highlights on pewter) measures 5.71 x 7.49 inches (14.5 x 19 cm.) and 5.9 x 7.3 inches (15 x 18.5 cm.) respectively.
Further related examples, albeit of smaller proportions, are recorded and include a front view of the château, sold Brissoneau, Daguerre, 26 March 2010, lot 206 (15 x 19.5 cm); a pair sold Ader Picard Tajan, 23 February 1978, lots 41A and B (17 x 25 cm); and another - with no indication of size - sold Hotel Drouot, 13 March 1897, lot 67 (‘Deux petits tableaux sur étain: vues du château de Saint Hubert, “exécutées sur le tour par Compigne Tabletier du Roy”. Encadrés’).
Views of édifices and châteaux such as the pair here offered are all the more important that they often represent the only surviving image or rendition of a building since then demolished, as is the case here with the Royal château de Saint-Hubert.
THOMAS COMPIGNÉ
Artist and tabletier to Louis XV, Thomas Compigné, Italian by birth, established his workshop in the rue Greneta, Paris, à l’enseigne du Roi David. As a Royal tabletier, he attracted a number of wealthy clients specialising in precious objects of virtue such as snuff boxes, plaques and portrait roundels. Undoubtedly preeminent in his field, his accomplishments appeared in a number of contemporaneous newspapers.
In January 1756, the Mercure de France reported that: [Compigné] va incessamment mettre au jour différens dessins de sa composition, qu’il exécute sur l’écaille & sur le carton; l’effet de ce travail est d’autant plus frappant qu’il représente le naturel. Ceux qui désireront les avoir sur or & sur argent, ou autres métaux, pourront les lui commander: il les rendra avec autant de précision que tells desseins Chinois, de fleurs, d’architecture, de païsage, & autres qu’on voudroit se procurer. Il double en écaille les tabatieres de carton: il raccommode les unes & les autres, & vend des deux expeces à tres-juste prix, en grous & en detail. On trouvera encore chez lui des assortimens de toutes expeces, en ce qui concerne la Tabletterie.’ [Compigné regularly creates new designs, which he executes in tortoiseshell and 'sur le carton'; the result of this work is all the more remarkable because it is so realistic. Those who desire to have these designs in gold and silver, or other metals, can order them from him; he will render them with as much precision as Chinese designs - flowers, architecture, rural views, etc. – whatever one desires. He adorns snuffboxes with tortoiseshell; he repairs all types of object, and sells both at very fair prices. At his shop one will find everything one might expect from a Tabletterie.]
And, in 1771, l’Almanach Dauphin, writing on the principal dealers and artists of France, described Compigné, as one of the most renown: ‘Cet habile artiste vient d’exécuter de nouvelles tabatières en camayeu travaillées au tour, sur lesquelles sont sculptées en relief des perspectives de paysages et châteaux, conformément aux dessins qui lui sont remis pour modèle… Marchand tabletier privilégié suivant la cour, Thomas Compigné exécuta ainsi de précieux tableaux : notamment des vues de paysages, de ports, de résidences Princières et Royales’. [This skilful artist has just executed new snuff-boxes in camaïeu, worked on the lathe, on which are carved in relief landscape perspectives and châteaux, following the designs which he was asked to follow ... The Royal Marchand-tabletier, Thomas Compigné, executed precious paintings: notably landscapes of ports, royal and aristocratic residences.]
It is interesting to note that the popularity of Compigné's Royal commissions lead the artist to reproduce smaller editions of such commissions, to sell in his shop on the rue Grenata in Paris. A circular Tableau d’ecaille, entitled ‘les Malheurs réparés par la Bienfaisance’ and presented in 1773 to Madame la Dauphine (Marie Antoinette (1755-93)), was reported by the Gazette de France on 24 December of that year as being available in Compigné’s shop in a small form that could be mounted on the top of a snuff box.