Jean-Claude Chambellan Duplessis (1699 — 1774), called Duplessis père to distinguish him from his son, Jean-Claude-Thomas Chambellan Duplessis (c. 1730 — 1783), was a goldsmith, sculptor and ceramics modeller, bronze-founder and decorative designer working in the Rococo manner. He served as artistic director of the Vincennes porcelain manufactory and its successor at Sèvres from 1748 to his death in 1774 and as royal goldsmith (orfèvre du Roi) from 1758 to 1774.
Vincennes porcelain sauceboat by Jean-Claude Chambellan Duplessis, Vincennes, 1756.
He was born in Turin, as Giovanni Claudio Ciambellano. His earliest work in Turin was carried out for the Prince de Carignan and other members of the house of Savoy. He arrived in Paris in the suite of Victor Amadeus I, Prince of Carignan who ran away to Paris in 1718 and set up an extravagant establishment at the Hôtel de Soissons. When Carignan returned to Turin, Duplessis placed himself under the protection of Marc-René de Voyer de Paulmy d'Argenson (1722–1787), who obtained for him workshop lodgings in the galeries du Louvre as a privileged worker not bound by the rules of the Paris guilds, which would not have accepted a foreign-born craftsman.
Vase Duplessis, Vincennes porcelain, marked for 1753, with gilt-bronze lip and base.
In 1748, Duplessis joined the porcelain manufactory at Vincennes, where he worked four days a week, modeling new designs for vessels and vases that gave the production at Vincennes new life. The extravagant everted forms of several versions of the Vase Duplessis demonstrate his style.[1] In 1755 he perfected an offset lathe that could turn oval forms.
In August 1756 he moved with the Vincennes manufactory to its new quarters that became the Manufacture nationale de Sèvres. Made Orfèvre du Roi (goldsmith to the king) in 1758, he occupied lodgings in rue Sainte-Marthe in 1764.
Duplessis invented the extravagant rococo forms of Vincennes and Sèvres vases, the ship-like Sèvres pot-pourri vase in the shape of a ship, or Vaisseau à mât, and the vase with elephant heads.[2]
From the early 1760s his designs showed some first signs of the earliest neoclassicism, the goût grec.[3]
Gilt-bronzeedit
Duplessis' designs in gilt-bronze are undocumented, aside from the pair of braziers made for presentation in 1742 to the ambassador from the Sublime Porte, Mehmed Said Efendi, of which one is conserved at Topkapi Palace Museum, Istanbul,[4] and a set of mounts he contributed during the 1760s to the Bureau du Roi at Versailles. In Paris he created the wax models for gilt-bronze mounts for furniture and especially for porcelains, in which capacity he appears repeatedly in the day-book of the marchand-mercierLazare Duvaux.[5]
Among Duvaux's clients he collaborated most closely in work for the comte d'Argenson, Augustin Blondel de Gagny and the duc de Chaulnes. Extrapolating from Duplessis' vases for Vincennes and Sėvres, Ted Dell recognized Duplessis' hand in the bold Louis XV gilt-bronze mounts of a pair of dark blue Chinese porcelain vases in the Frick Collection (25.8.43-44) and tentatively suggested a core group of closely comparable gilt-bronze mounts for porcelains, ca 1755-60, that appear to be designed by the same hand.[6] A robust gilt-bronze clock case at the Wallace Collection has also been attributed to Duplessis.[7]
Notesedit
^Fitzwilliam Museum: pair of Vases Duplessis, ca1751-52 2011-06-12 at the Wayback Machine; Victoria & Albert Museum: Vase Duplessis à fleurs balustre rocaille, ca1750-55.
^Several Sèvres vases and an inkstand in the Wallace Collection, London, are illustrated in The Wallace Collection, 2005: cat. nos 164 (vase à elephants), 166 (pot-pourri gondole), 169 (inkstand), 171 (pot-pourri feuilles de myrte and vase or pot-pourri en navire), 180 (vase grėc à rosettes), 182 (vase à jets d'eau), 183(pot-pourri ovale.
^For example the Greek key fret on a Sèvres vase of c. 1761 in the Wallace Collection (Wallace Collection, 2005:171); the fully neoclassical vase grec à rosettes in the Wallace Collection, marked for 1765, belonged to Horace Walpole at Strawberry Hill (The Wallace Collection, 2005:180).
^Illustrated by Pierre Verlet, Les bronzes dorés français du XVIIIe siècle 1987:23 fig 9, noted in Theodore Dell, The Frick Collection. VI. Furniture, 1992:310 note 3.
^L. Courajod, ed. Le livre-journal de Lazare Duvaux (Paris, 1873) 1965, s.v. nos. 601, 1493, 1713, 1810, noted by Dell 1992:310 note 5.
^G. Levallet, "Jean-Claude Duplessis: orfèvre du roi", La Renaissance de l'art français, (February 1922:60-67)/
Further readingedit
Parker, James & Le Corbeiller, Clare (1979). A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art. ISBN0-87099-186-8.{{cite book}}: CS1 maint: multiple names: authors list (link) (see index: p. 127-128)
January 01, 1970
jean, claude, chambellan, duplessis, 1699, 1774, called, duplessis, père, distinguish, from, jean, claude, thomas, chambellan, duplessis, 1730, 1783, goldsmith, sculptor, ceramics, modeller, bronze, founder, decorative, designer, working, rococo, manner, serve. Jean Claude Chambellan Duplessis 1699 1774 called Duplessis pere to distinguish him from his son Jean Claude Thomas Chambellan Duplessis c 1730 1783 was a goldsmith sculptor and ceramics modeller bronze founder and decorative designer working in the Rococo manner He served as artistic director of the Vincennes porcelain manufactory and its successor at Sevres from 1748 to his death in 1774 and as royal goldsmith orfevre du Roi from 1758 to 1774 Vincennes porcelain sauceboat by Jean Claude Chambellan Duplessis Vincennes 1756 He was born in Turin as Giovanni Claudio Ciambellano His earliest work in Turin was carried out for the Prince de Carignan and other members of the house of Savoy He arrived in Paris in the suite of Victor Amadeus I Prince of Carignan who ran away to Paris in 1718 and set up an extravagant establishment at the Hotel de Soissons When Carignan returned to Turin Duplessis placed himself under the protection of Marc Rene de Voyer de Paulmy d Argenson 1722 1787 who obtained for him workshop lodgings in the galeries du Louvre as a privileged worker not bound by the rules of the Paris guilds which would not have accepted a foreign born craftsman Contents 1 Porcelain 2 Gilt bronze 3 Notes 4 Further readingPorcelain edit nbsp Vase Duplessis Vincennes porcelain marked for 1753 with gilt bronze lip and base In 1748 Duplessis joined the porcelain manufactory at Vincennes where he worked four days a week modeling new designs for vessels and vases that gave the production at Vincennes new life The extravagant everted forms of several versions of the Vase Duplessis demonstrate his style 1 In 1755 he perfected an offset lathe that could turn oval forms In August 1756 he moved with the Vincennes manufactory to its new quarters that became the Manufacture nationale de Sevres Made Orfevre du Roi goldsmith to the king in 1758 he occupied lodgings in rue Sainte Marthe in 1764 nbsp Sevres pot pourri vase in the shape of a ship Duplessis invented the extravagant rococo forms of Vincennes and Sevres vases the ship like Sevres pot pourri vase in the shape of a ship or Vaisseau a mat and the vase with elephant heads 2 From the early 1760s his designs showed some first signs of the earliest neoclassicism the gout grec 3 Gilt bronze editDuplessis designs in gilt bronze are undocumented aside from the pair of braziers made for presentation in 1742 to the ambassador from the Sublime Porte Mehmed Said Efendi of which one is conserved at Topkapi Palace Museum Istanbul 4 and a set of mounts he contributed during the 1760s to the Bureau du Roi at Versailles In Paris he created the wax models for gilt bronze mounts for furniture and especially for porcelains in which capacity he appears repeatedly in the day book of the marchand mercier Lazare Duvaux 5 Among Duvaux s clients he collaborated most closely in work for the comte d Argenson Augustin Blondel de Gagny and the duc de Chaulnes Extrapolating from Duplessis vases for Vincennes and Sevres Ted Dell recognized Duplessis hand in the bold Louis XV gilt bronze mounts of a pair of dark blue Chinese porcelain vases in the Frick Collection 25 8 43 44 and tentatively suggested a core group of closely comparable gilt bronze mounts for porcelains ca 1755 60 that appear to be designed by the same hand 6 A robust gilt bronze clock case at the Wallace Collection has also been attributed to Duplessis 7 Notes edit Fitzwilliam Museum pair of Vases Duplessis ca1751 52 Archived 2011 06 12 at the Wayback Machine Victoria amp Albert Museum Vase Duplessis a fleurs balustre rocaille ca1750 55 Several Sevres vases and an inkstand in the Wallace Collection London are illustrated in The Wallace Collection 2005 cat nos 164 vase a elephants 166 pot pourri gondole 169 inkstand 171 pot pourri feuilles de myrte and vase or pot pourri en navire 180 vase grec a rosettes 182 vase a jets d eau 183 pot pourri ovale For example the Greek key fret on a Sevres vase of c 1761 in the Wallace Collection Wallace Collection 2005 171 the fully neoclassical vase grec a rosettes in the Wallace Collection marked for 1765 belonged to Horace Walpole at Strawberry Hill The Wallace Collection 2005 180 Illustrated by Pierre Verlet Les bronzes dores francais du XVIIIe siecle 1987 23 fig 9 noted in Theodore Dell The Frick Collection VI Furniture 1992 310 note 3 L Courajod ed Le livre journal de Lazare Duvaux Paris 1873 1965 s v nos 601 1493 1713 1810 noted by Dell 1992 310 note 5 Dell 1992 309 14 G Levallet Jean Claude Duplessis orfevre du roi La Renaissance de l art francais February 1922 60 67 Further reading editParker James amp Le Corbeiller Clare 1979 A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art New York The Metropolitan Museum of Art ISBN 0 87099 186 8 a href Template Cite book html title Template Cite book cite book a CS1 maint multiple names authors list link see index p 127 128 Retrieved from https en wikipedia org w index php title Jean Claude Chambellan Duplessis amp 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