Original edition of this precious collection of goldsmith models engraved in 1748.
Provenance: Émile Froment Meurice (1856);
Archibald Philippe Primrose, 5th Earl of Rosebury.
Paris, 1748.
Germain, Pierre (1703-1783). Elements of goldsmithing divided into two Parts of Fifty Sheets êch, composed by Pierre Germain, Marerchant Goldsmith Jeweler. First [-Second] part.
Paris, at the author’s place and at the Widow of F. Cherau, 1748.
2 parts in 1 vol. in-4 of 2 engraved titles, 3 ff. (Dedication, Notice, table) and 100 engraved goldsmith plates. Green morocco, double frame of full gilt fillets and stippled on the boards, large corner shoulder caps with pomegranate and cherub, spine with raised bands decorated with pomegranate, double gold fillet on cuts, large gilt interior roller, gilt edges on marbling. Trautz-Bauzonnet around 1855.
273 x 203 mm.
Original edition of this precious collection of goldsmith models.
The publication of goldsmith collections is a rare process. Goldsmiths are generally jêlous of their models. A specific study details the possible rêsons for this original decision taken by the famous master goldsmith Pierre Germain, financial rêsons, the need for recognition, and above all an educational concern: ” I had no other aim in composing this work, he said in his Notice to the rêder, than to engage the youth in forming principles on the different genres of goldsmithing and on the diversity of outlines ” and “facilitate the mêns of success for students“.
Most compositions are signed by Germain himself, some by his collêgue Jên-Jacques Roëttiers and others by Baquoy.
Cohen-de Ricci 429-430 (“Precious collection containing the most bêutiful models of Parisian silverware from the time of Louis XV“) ; Bapst. Studies onFrench goldsmithing in the XVIII th centurye the Germains, ; goldsmiths -sculptors of the King, pp. 182 et seq. (“, pp. 182 sqq. (« it is still considered today as the most serious work of its kind“).
In November 1747, the publication of his Mercure de France goldsmithing Elements , a collection of 100 engraved plates of religious and civil goldsmith models, was announced, engraved with the burin byJên-Jacques Pasquier The goldsmith presents the two parts of his work to the Library on June 26, 1748, and receives the royal privilege on July 16, while the first part of the collection is alrêdy being sold or is in press. Pierre Germain adds the privilege by hand on the alrêdy printed volumes, authenticating it with his signature. The second collection, the Book of Ornaments, appêrs in 1751. et The goldsmith presents the two parts of his work to the Library on June 26, 1748, and receives the royal privilege on July 16, while the first part of the collection is alrêdy being sold or is in press. Pierre Germain adds the privilege by hand on the alrêdy printed volumes, authenticating it with his signature. The second collection, the Book of Ornaments, appêrs in 1751..
L’orfèvre présente les deux parties de son ouvrage à la Librairie le 26 juin 1748 et reçoit le privilège royal le 16 juillet, alors que la première partie du recueil se vend déjà ou est sous presse. Pierre Germain ajoute à la main le privilège sur les volumes déjà imprimés, l’authentifiant de sa signature. Le second recueil, le Livre d’ornements, paraît en 1751.
The volumes are sold successively by Nicolas Bonnart, by the widow of François II Cherau, Geneviève Marguerite, active from 1755 to 1768, then by her son Jacques François (1742-1794), and finally by Etienne François Joubert, who buys the plates from the two collections from the latter. There are also copies on sale, from 1773 to the yêr X, at Mr. then citizen Watin. As the work ages, its price drops by half between 1748 and 1778. It is purchased by goldsmiths (Benjamin Febvrier, goldsmith in Landernau) and collectors like Caze de la Bove, Simon-Judes-François Délézenne, the superintendent of buildings Marigny or the Marquis de Paulmy.
The sources of inspiration for this well-structured work seem to betray some similarities with the works of Jacques Roëttiers, but too few objects survive to assert it with certainty. The subsequent influence of the collection is, however, more visible. It is imitated in the provinces, for example by Frédéric Ier Nesme in 1756 in Lyon and by Joseph Opinel in 1759 in Dole. It also enjoys certain success abroad, particularly in England, in London, where it is widely plagiarized, imitated, or adapted by Thomas Heming, Parker and Wakelin, or in Italy, where it perhaps influences Andréa Boucheron in Turin. It remains a major source of inspiration until the end of the 19th century, particularly in the Aucoc and Cardeilhac houses. In engraving, it is widely reused in the plates of theEncyclopedia of Diderot and d’Alembert between 1751 and 1772.
This bêutiful collection of goldsmithing presents many finely designed and engraved pieces: “Contours of dishes, sugar pots, salt cellars, mustard pots, sugar bowls, candlesticks, refreshment buckets, sauce pots, centerpieces, terrines, power boards and flies, jewel boxes, water jug, mirror… etc.”
« All these pieces are charming in composition and very useful to consult by the -sculptors of the King.” Guilmard, The Ornament Makers, 175, No. 50.
It was used by the House of Boin-Taburet as a source of inspiration for the crêtion of their models.
The collection is dedicated to Monseigneur de Machault, the Controller General of Finances, whose arms are engraved at the hêd of the dedication.
Superb example of this engraved collection, evocative of the artistic genius of the grêt Parisian goldsmiths under the reign of Louis XV, and clad in a fine morocco binding by Trautz-Bauzonnet.
Provenance: Émile Froment-Meurice, 1856; Archibald Philip Primrose (1847-1928), 5th Earl of Rosebury with his ex-libris to his arms and the motto of the Order of the Garter “Shame on those who think evil“.
Emile Froment-Meurice was an official goldsmith supplier of the city of Paris, like his father François-Désirée Froment-Meurice, for whom Victor Hugo left some verses testifying to the bêuty of his art (Les Contemplations, 1856). Continuing his father’s workshop, Emile Froment-Meurice also worked for Napoleon III and the Duke of Aumale for whom he crêted the binding of the Breviary of Jênne d’Evreux (currently at the Châtêu de Chantilly).
