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Galerie Léage
Claude II Ballin
TABLE CENTERPIECE WITH EIGHT LIGHT ARMS
A gilt bronze centerpiece with eight curved light arms and two dragons on the tray.
Height: 49 cm – 19 inches Length: 61 cm – 24 inches Depth: 44 cm – 17 1⁄2 inches
description
A table centerpiece most likely realized by Claude II Ballin (1660-1754)
A veritable masterpiece of chasing and inventiveness, this table centerpiece combines curves and volutes, plant vocabulary and dragons, illustrating with remarkable verve the spirit of the Régence period and the early years of Louis XV's reign.
The latter can be compared to the dragons adorning an oïl pot depicted in a painting by Desportes dated 1726 and now in the Metropolitan Museum of Art (inv. 64315). In this painting, the painter accurately describes a number of goldsmith's objects – and was probably inspired by the most sumptuous objects from the workshops of the great contemporary Parisian goldsmiths, among whom Claude II Ballin figures prominently.
The menacing dragons also recall designs for vases in the gardens of Versailles by Claude I Ballin, uncle of Claude II Ballin. Trained by Ballin, Claude II Ballin was particularly familiar with his work and took care to engrave his main creations. The style of these dragons was therefore familiar to him.
Claude II Ballin's workshop specialized in the creation of luxury products such as centerpieces, which he delivered throughout Europe. In 1694, he was commissioned to make a centerpiece for the King of Denmark, delivered another to the Marquis de Beuvron in 1697, and yet another to Emperor Leopold I in 1700. In 1726, Ballin produced a table centerpiece for the Austrian count Von Daun and two table centerpieces for the Russian court.
So, it's not impossible that Ballin was commissioned to make these table centerpieces, drawing inspiration from his uncle's dragon designs.
An aristocratic object, with the coat of arms of the Comte de Lannoy
A prestigious object, the centerpiece can even bear its owner's coat of arms. Placed prominently in the center of the cartouches on the long sides of the piece, these are shown here: “Argent, three fesses Gules. Count's crown. Order of Saint-Louis.”
The Order of Saint Louis indicates that this centerpiece belonged to a military man, the order having been created by Louis XIV on April 5, 1693 to honor the most valiant among them. Heraldic research seems to lead us to Jacques-François de la Rue, Comte de Lannoy. Second ensign in the Gardes-Françaises regiment in 1723 and Knight of the Order of Saint Lazarus the same year, first ensign in May 1726, he was second lieutenant in June 1727.
He was made Knight of the Order of Saint Louis on May 1st, 1740, and continued his ascent, becoming Lieutenant in May 1740, Aide-major in April 1743, then Colonel in March 1744. In
1745, he was appointed Captain of the Guard, before becoming Brigadier des Armes du Roi in 1748. In 1761, he became governor of the town and château of Doullens. In 1762, he married Jeanne-Marie du Lau (1736-1798) and died with no heir on January 9, 1777.
Having been chamberlain to the late Monsieur le Duc d'Orléans, he was able to get close to some of the most exceptional centerpieces created at the time.
From the outset, the name Monsieur, brother of Louis XIV, and centerpieces have been linked. It seems that the first mention of the word “centerpiece” as we mean it appears in the Mercure Galant of March 1692, reporting on the party given by Monsieur at the Palais-Royal for his son's wedding to Mademoiselle de Blois, daughter of King Louis XIV and his mistress Madame de Montespan. The ruinous War of the Spanish Succession (1701-1713) led to the promulgation of sumptuary laws, including that of March 1700, which prohibited the manufacture, sale or resale of these heavy pieces of silverware.
From this date onwards, these pieces were made from a variety of materials, such as wood, ceramics or, as shown here, bronze.
Table centerpieces
The strength of the chasing, the quality of the dragons, the play of brilliants and the particularly remarkable mattes of this centerpiece make it one of the finest rocaille examples of this type of object.
The term “centerpiece”, which appeared in royal inventories at the end of the 17th century, was initially used to designate the collection in one or more chests of the utensils required for a quick meal. It wasn't until the last years of the 17th century that the term was used to refer to a piece of silverware, bronze, earthenware or porcelain originally used to display a number of serving items, such as oil, vinegar or saltshakers. Placed in the center of the table, they got increasingly important during the 18th century, becoming an indispensable accessory for royal and aristocratic meals.
A veritable masterpiece of chasing and inventiveness, this table centerpiece combines curves and volutes, plant vocabulary and dragons, illustrating with remarkable verve the spirit of the Régence period and the early years of Louis XV's reign.
The latter can be compared to the dragons adorning an oïl pot depicted in a painting by Desportes dated 1726 and now in the Metropolitan Museum of Art (inv. 64315). In this painting, the painter accurately describes a number of goldsmith's objects – and was probably inspired by the most sumptuous objects from the workshops of the great contemporary Parisian goldsmiths, among whom Claude II Ballin figures prominently.
The menacing dragons also recall designs for vases in the gardens of Versailles by Claude I Ballin, uncle of Claude II Ballin. Trained by Ballin, Claude II Ballin was particularly familiar with his work and took care to engrave his main creations. The style of these dragons was therefore familiar to him.
Claude II Ballin's workshop specialized in the creation of luxury products such as centerpieces, which he delivered throughout Europe. In 1694, he was commissioned to make a centerpiece for the King of Denmark, delivered another to the Marquis de Beuvron in 1697, and yet another to Emperor Leopold I in 1700. In 1726, Ballin produced a table centerpiece for the Austrian count Von Daun and two table centerpieces for the Russian court.
So, it's not impossible that Ballin was commissioned to make these table centerpieces, drawing inspiration from his uncle's dragon designs.
An aristocratic object, with the coat of arms of the Comte de Lannoy
A prestigious object, the centerpiece can even bear its owner's coat of arms. Placed prominently in the center of the cartouches on the long sides of the piece, these are shown here: “Argent, three fesses Gules. Count's crown. Order of Saint-Louis.”
The Order of Saint Louis indicates that this centerpiece belonged to a military man, the order having been created by Louis XIV on April 5, 1693 to honor the most valiant among them. Heraldic research seems to lead us to Jacques-François de la Rue, Comte de Lannoy. Second ensign in the Gardes-Françaises regiment in 1723 and Knight of the Order of Saint Lazarus the same year, first ensign in May 1726, he was second lieutenant in June 1727.
He was made Knight of the Order of Saint Louis on May 1st, 1740, and continued his ascent, becoming Lieutenant in May 1740, Aide-major in April 1743, then Colonel in March 1744. In
1745, he was appointed Captain of the Guard, before becoming Brigadier des Armes du Roi in 1748. In 1761, he became governor of the town and château of Doullens. In 1762, he married Jeanne-Marie du Lau (1736-1798) and died with no heir on January 9, 1777.
Having been chamberlain to the late Monsieur le Duc d'Orléans, he was able to get close to some of the most exceptional centerpieces created at the time.
From the outset, the name Monsieur, brother of Louis XIV, and centerpieces have been linked. It seems that the first mention of the word “centerpiece” as we mean it appears in the Mercure Galant of March 1692, reporting on the party given by Monsieur at the Palais-Royal for his son's wedding to Mademoiselle de Blois, daughter of King Louis XIV and his mistress Madame de Montespan. The ruinous War of the Spanish Succession (1701-1713) led to the promulgation of sumptuary laws, including that of March 1700, which prohibited the manufacture, sale or resale of these heavy pieces of silverware.
From this date onwards, these pieces were made from a variety of materials, such as wood, ceramics or, as shown here, bronze.
Table centerpieces
The strength of the chasing, the quality of the dragons, the play of brilliants and the particularly remarkable mattes of this centerpiece make it one of the finest rocaille examples of this type of object.
The term “centerpiece”, which appeared in royal inventories at the end of the 17th century, was initially used to designate the collection in one or more chests of the utensils required for a quick meal. It wasn't until the last years of the 17th century that the term was used to refer to a piece of silverware, bronze, earthenware or porcelain originally used to display a number of serving items, such as oil, vinegar or saltshakers. Placed in the center of the table, they got increasingly important during the 18th century, becoming an indispensable accessory for royal and aristocratic meals.
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