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- Martin Carlin (1730 - 1785)
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- Place of Birth: Frienburg im Breisgau, Germany
- Place of Death: Paris, France
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Results: 7
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- Secretaire
- Martin Carlin (1730 - 1785)
- France
- c. 1776
- F304
- Oval Drawing Room
- Bookmarkable URLSèvres porcelain plaques were first made for use on furniture in the late 1750s. The cabinet-maker Martin Carlin (c.1730-85) specialised in this kind of furniture, decorated with delicate floral panels of Sèvres porcelain. This desk ('secrétaire à abattant') was probably commissioned by the prominent dealers ('marchands-merciers') Simon-Philippe Poirier and Dominique Daguerre who dominated the market in this type of furniture. The front panel on which the plaque is mounted drops forward to reveal a rich interior of drawers and pigeonholes, with further drawers in the frieze and under the fall-front. The shelves on either side would have been for display.
The floral swag mounts along the frieze of the desk and the elegant tapering legs are typical of the neo-classical style, and of work by Carlin. The rich pink and purple colours of the wood veneers, now faded, would once have matched some of the bright colours on the porcelain plaques. The drawer front on the stand is mounted with a central apron-shaped plaque in a gilt-bronze surround, imitating a fringed drape, a form harking back to furniture of the late seventeenth century.
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- Writing- and reading-table
- Martin Carlin (1730 - 1785)
- France
- 1783 - 1784
- F327
- Study
- Bookmarkable URLThis table, characteristic of the 1780s in its ingenious mechanical fittings, combines a writing- and reading-table. Concealed within are two drawers, a candle-stand at each side and a mechanism allowing the entire top to be raised and tilted to form a book-rest.
The charm of the piece, however, is in the decoration of the gilt-bronze mounts and the porcelain plaques, which give it an exquisite refinement. Everything is of the highest quality - the cabinet-making, the gilt-bronze work and the painting on the Sèvres plaques (museum nos. C506a-e), which depict overflowing baskets of flowers and colourful ribbons and have been attributed to the Sèvres painter, Edme-François Bouilliat père (1746-1802).
The cabinet-maker was Martin Carlin (c.1730-1785), who often worked to the designs of the dealer Dominique Daguerre (d. 1796). This was almost certainly one of those pieces, and would have been bought by a highly-discerning and very wealthy client. The design idea seems to stem from the adjustable music stands with which Carlin can also be associated, and several versions of this kind of mechanical reading and writing table exist.
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- Corner-cupboard
- Attributed to Martin Carlin (1730 - 1785)
- France
- c. 1772
- F414
- East Galleries II
- Bookmarkable URLThis corner cupboard is a pair to another in the Wallace Collection (F415). The popularity of Boulle-style furniture revived from c. 1760 with the increasing interest in seventeenth-century French classicism and its interpretation of the Antique, and with the so-called goût-grec, a precursor to the neo-classical taste of the last quarter of the eighteenth century. The Parisian dealers did much to stimulate this fashion by selling old pieces by André-Charles Boulle (1642-1732) and by commissioning new pieces in the same manner. Martin Carlin was a highly accomplished ébéniste who appears to have worked mainly for Parisian dealers (marchands-merciers) and it is likely that these pieces were commissioned by one of these men. Although these pieces are not stamped by Carlin, there is another pair with matching premiere-partie marquetry bearing his mark in a private collection.
Apart from the marquetry technique, the elements on these pieces that recall the seventeenth century are the gilt bronze mounts which derive from Boulle’s work and, ultimately, from a ceiling painting in the Queen’s Apartment at Versailles by Michel Corneille the Younger (1642-1708) entitled 'Aspasia, Queen of Egypt, among the Philosophers of Greece'.
These cupboards were probably owned by the duc d’Aumont, a great collector and patron of the arts, and sold after his death in 1782. The 4th Marquess of Hertford acquired them sometime before 1865 when one of them was lent to the Musée Retrospectif in Paris and was described as being from the time of Louis XIV. However, Boulle marquetry corner cupboards are examples of a furniture type that appear never to have been made by A.-C. Boulle himself.
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- Corner-cupboard
- Attributed to Martin Carlin (1730 - 1785)
- France
- c. 1772
- F415
- East Galleries II
- Bookmarkable URLThis corner cupboard is a pair to another in the Wallace Collection (F416). The popularity of Boulle-style furniture revived from c. 1760 with the increasing interest in seventeenth-century French classicism and its interpretation of the Antique, and with the so-called goût-grec, a precursor to the neo-classical taste of the last quarter of the eighteenth century. The Parisian dealers (marchands-merciers) did much to stimulate this fashion by selling old pieces by André-Charles Boulle (1642-1732) and by commissioning new pieces in the same manner. Martin Carlin was a highly accomplished ébéniste who appears to have worked mainly for Parisian dealers and it is likely that these pieces were commissioned by one of these men. Although these pieces are not stamped by Carlin, there is another pair with matching première-partie marquetry bearing his mark in a private collection.
Apart from the marquetry technique, the elements on these pieces that recall the seventeenth century are the gilt bronze mounts which derive from Boulle’s work and, ultimately, from a ceiling painting in the Queen’s Apartment at Versailles by Michel Corneille the Younger (1642-1708) entitled 'Aspasia, Queen of Egypt, among the Philosophers of Greece'.
These cupboards were probably owned by the duc d’Aumont, a great collector and patron of the arts, and sold after his death in 1782. The 4th Marquess of Hertford acquired them sometime before 1865 when one of them was lent to the Musée Retrospectif in Paris and was described as being from the time of Louis XIV. However, Boulle marquetry corner cupboards are examples of a furniture type that appear never to have been made by A.-C. Boulle himself.
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- Candle stand
- Style of Martin Carlin (1730 - 1785)
- France
- c. 1860
- F436
- Reserve Gallery
- Bookmarkable URLOne of a pair (with F437) of veneered candlestands dating from the third quarter of the nineteenth century, probably made in Paris where they appeared in the 1871 inventory of one of Sir Richard Wallace's houses supporting two gilt-bronze candelabra (F130-1). The candlestands are well made but the quality of their gilt-bronze mounts is mechanical, for example the tasselled drapery swags, which lack relief. The pierced gilt-bronze galleries appear to have been cast, rather than pierced with a fly-punch, which would have been the normal late-18th-century technique. In style the candlestands are based on the furniture of Martin Carlin (1730-1785), in particular the tasselled drapery swags are based on a mount found on some of Carlin's work-tables.
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- Candle stand
- Style of Martin Carlin (1730 - 1785)
- France
- c. 1860
- F437
- Reserve Gallery
- Bookmarkable URLOne of a pair (with F436) of veneered candlestands dating from the third quarter of the nineteenth century, probably made in Paris where they appeared in the 1871 inventory of one of Sir Richard Wallace's houses supporting two gilt-bronze candelabra (F130-1). The candlestands are well made but the quality of their gilt-bronze mounts is mechanical, for example the tasselled drapery swags, which lack relief. The pierced gilt-bronze galleries appear to have been cast, rather than pierced with a fly-punch, which would have been the normal late-18th-century technique. In style the candlestands are based on the furniture of Martin Carlin (1730-1785), in particular the tasselled drapery swags are based on a mount found on some of Carlin's work-tables.
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- Five plaques mounted in a work table
- Manufacture de Sèvres
- Sèvres, France
- 1783
- C506
- Study
- Bookmarkable URLFive plaques mounted in work table F327. Decorated with a border frieze and painted in white reserves with flowers. The frieze has edges of styalized blue harebells flanking a running motif of green wreaths containing blue cornflowers.
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