pierre philippe thomire

LES LIAISONS DE MARIE ANTOINETTE | This jewelry armoire was designed for Marie Antoinette by the cabinet maker Jean-Ferdinand Schwerdfeger and decorated with bronze work by Pierre-Philippe Thomire.  It was delivered to the Palace of Versailles in 1787. Photo, Architectural Digest.

LES LIAISONS DE MARIE ANTOINETTE | The jewelry armoire at left, designed by Ferdinand Schwerdfeger for Marie Antoinette and decorated with bronzes by Pierre-Philippe Thomire, arrived at Versailles in 1787, two years before the start of the French Revolution. “ A Private Invitation”  Francis Hammond

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Pierre-Antoine Bellangé (table) and Pierre-Philippe Thomire (clock). Pier table, with mantel clock depicting Minerva. ca. 1817.

Table: gilded beechwood, marble, and mirror glass; clock: gilded bronze, enameled iron, and brass spring-driven movement.

Entrance Hall, The White House. Washington, D.C. USA.

Design for the “Genius of Arts” French Empire-style mantel clock.

Workshop of  bronzier Pierre-Philippe Thomire. French 1751-1843.

 Pen, brush and Indian ink, watercolour and gouache. 48.2x30 cm France.  1810.

Source of entry: First Branch of the State Hermitage Museum (former Museum of the Stieglitz School). 1926.

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LES LIAISONS DE MARIE ANTOINETTE :

The jewelry armoire at left, designed by Ferdinand Schwerdfeger for Marie Antoinette and decorated with bronzes by Pierre-Philippe Thomire, arrived at Versailles in 1787, two years before the start of the French Revolution.

FROM THE BOOK ‘VERSAILLES, A PRIVATE INVITATION ’ PHOTOGRAPHED BY FRANCIS HAMMOND AND TEXT BY GUILLAUME PICON.

The Golden Tableau – Thorvaldsen’s Royal Commision at Amalienborg Palace. Denmark.

HM Queen Margrethe of Denmark’s birthday on the 16th of April (from 1 o’clock) marks the opening of the new permanent exhibition at Amalienborg Palace of gilt bronze figures by the neoclassical artist Bertel Thorvaldsen from the 1820s. The figures are miniatures of the most renowned works by Thorvaldsen, who was Denmark’s first major international artist.

THE MAGNIFICENCE OF THE ROYAL BANQUETS

The bronzes served as table decorations and added lustre to the royal banquets of Christian VIII and Queen Caroline Amalie of Denmark. Gilt bronze candelabras and centrepieces by the French sculptor Pierre-Philippe Thomire accompanied the bronzes, and they will sparkle together as they did almost 200 years ago; the exhibition design is based on an original plan from the period.

The motifs are all based on Greek and Roman mythology, and the bronzes would inspire the royal guests to indulge in learned conversation based on their knowledge of the ancient world. However, at some point the explicit nudity of the male figures proved too much for the royal guests and their genitalia had to be concealed behind gilt fig leaves. The fig leaves are also exhibited.

THE KING’S PERSONAL COMMISSION

Today, Thorvaldsen ranks as one of the greatest sculptors the world has seen. In his day, Denmark was too small for him and he travelled to Rome in 1796, which was the artistic hothouse of the late 18th century. In Rome he made a name for himself and was commissioned by popes, dukes and other prominent people.

Having studied history and literature and in addition received lessons in drawing, Christian VIII was very interested in art and culture. His Grand Tour lasted four years and it was a must for him to visit Thorvaldsen’s studio in Rome. Here he cultivated the idea of having 10 smaller versions of Thorvaldsen’s sculptures carried out in gilded bronze.

The modelling was done by the Italian Pietro Galli (1804-77), who worked in Thorvaldsen’s workshop. In Paris on their journey home the heirs to the throne commissioned the large gilt candelabra and centrepieces with crystal dishes, which were to adorn the gala table together with the figures.

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