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Etienne-Charles LE GUAY(ou LEGUAY).1762-1846 - Etienne-Charles LE GUAY(or LEGUAY).1762-1846 Portrait of Marie-Victoire Jaquotot Bust version of Etienne-Charles Le Guay's miniature Portrait of Marie-Victoire Jaquotot, seated on a sofa Between 1794 and 1801 Miniature on ivory, mounted on cardboard 13 x 10 cm Etienne-Charles Le Guay (1762- 1846), was a miniaturist and painter on porcelain, born in Sèvres in 1762 and died in Paris in 1846. He was taught at the Académie Royale by Joseph-Marie Vien (1716-1809), founder of the modern classical school, who taught many of his pupils, including Regnault and David. After managing production at the Dihl et Guérhard porcelain factory in Paris during the French Revolution, Le Guay (or Leguay) was considered the best figure painter at the Sèvres factory in the early 19th century. In 1794, Etienne-Charles Le Guay married his pupil, Marie-Victoire Jaquotot ( 1772-1855), a porcelain painter. The couple separated a few years later in 1801. Le Guay exhibited at the Salon between 1795 and 1819, his work proving in tune with the precious taste of the Consulate and Empire. A painter at the Manufacture de Sèvres from 1778 to 1840, he is particularly renowned for having adorned a monumental "Etruscan" vase at the Sèvres factory with a 2.05 m frieze depicting the wedding procession of Napoleon 1st and Marie-Louise through the Grand Galerie of the Louvre. The vase has now been destroyed, but the model for the frieze, a watercolor by B. Zix, is preserved in the Louvre's cabinet des dessins. Marie-Victoire Jaquotot (1772-1855), a porcelain painter, was a pupil and second wife in 1794 of Etienne-Charles Le Guay, whom she divorced in 1801. She worked as a painter at the Manufacture de Sèvres between 1801 and 1842. She exhibited her porcelain paintings at the Salon between 1808 and 1836, and at the first of these exhibitions was awarded the gold medal, the first given to porcelain painting. In 1816, Marie-Victoire Jaquotot was awarded the title of "premier peintre sur porcelaine du cabinet du roi" (first porcelain painter in the King's cabinet), a title that enabled her to open a private studio where, for almost twenty years, she taught porcelain painting to some thirty students, most of them women, including Marie-Adélaïde Ducluzeau (1787-1849), who was also a painter at Sèvres. Marie-Victoire Jaquotot, while employed at the Sèvres factory, painted a large number of pieces that may rank among the finest paintings on porcelain. According to Le Guide de l'amateur de faïences et porcelaines : poteries, terres cuites, peintures sur lave, émaux, pierres précieuses artificielles, vitraux et verreries published in 1867: "It was she who painted the dessert service given to Emperor Alexander, and the series of portraits of kings, which belonged to the court. She painted La Belle Jardinière, after Raphaël; Anne de Clèves, after Van Dyk; Wellington; Napoleon 1er; Lady Darnley; the Countess Woronzof; the Duchesse d'Orléans; the Duchesse de Berry; the Countess Lorges, etc.". Our ivory miniature is a bust version of Portrait de Marie-Victoire Jaquotot, assise sur un divan, an ivory miniature painted by Etienne-Charles Le Guay between 1794 and 1801, now in the Musée du Louvre. The painter depicts his wife, the artist Marie-Victoire Jaquotot, consulting prints, among which is the figure of Mansuétude, one of the virtues painted by Raphaël in Constantine's bedroom. She is also holding an engraving of La Vierge à la chaise, all of which testify to the artist's admiration for Raphael. Indeed, Marie-Victoire Jaquotot was particularly renowned for her copies after Raphael. Her talent for mastering ceramic colors, combining brilliant hues and velvety complexions, made her a key figure in Alexandre Brongniart's policy of painting copies on large porcelain plates (the quest for unalterable paint), which were framed like paintings. Le Guay plays on the whiteness of ivory to give his wife's portrait "a luminous, slightly ethereal envelope". Camille Mauclair described this work as delightful: "the young miniaturist appears very pretty".

Estim. 3 000 - 5 000 EUR

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Martin-Guillaume BIENNAIS. 1764-1843. Tabletier, orfèvre de l'Empereur - RARE SILVER PLATE BY BIENNAIS FROM THE CAMPAIGN SERVICE OF EMPEROR NAPOLEON I. Plate "à couteau de voyage" in 1er titre silver (950 thousandths), with plain rim, the rim engraved with the arms of Emperor Napoleon I. Very good condition. Paris, 1798-1809. Title mark with 1st cock, guarantee mark with Vieillard's head. Goldsmith's hallmark of Martin-Guillaume BIENNAIS (1764-1843), with 'BIENNAIS' bar. Numbered '50'. D. 21 cm. Weight: 266.0 g. Provenance Campaign service of Emperor Napoleon I. History In 1804, Napoleon commissioned Martin-Guillaume Biennais to produce the extensive "Service de Campagne", which he carried with him on his travels in his six-horse Berline. This travel silverware was designed to withstand the incessant travel. Two types of plates bearing the Emperor's coat of arms were used: the first, simple and elegant, with a plain rim, and the second, more elaborate, bordered with palmettes, known as "à bord fort" to withstand campaign travel. The service was delivered in several batches between 1804 and 1815; an inventory of the Court's silverware drawn up in 1812 mentions, among other items, "594 travel knife plates", i.e. small flat plates such as ours. All the pieces received an inventory number engraved by Biennais in September 1812, so the present plate, number 50, was made before 1812, as confirmed by the first cock hallmark. As an example, we know that 100 strong rim plates were delivered by Biennais in 1810, 200 knife plates in December 1811, and 113 knife plates before the Russian campaign in 1812. An inventory by Louis XVIII's Intendant des Dépenses, Forestier, shows that the losses of "silverware that fell to the Allies in June 1815" were enormous, including "206 travel knife plates". Our plate was not one of these, and is therefore a rare example of the Emperor's campaign service that escaped the Second Empire's castings. Related works A plate numbered 277, Osenat sale, May 5, 2021, lot 80 (sold for €15,625). An unnumbered plate from the Berline booty, Osenat sale, November 19, 2023, lot 63 (sold for €48,944). A plate numbered 359, Lempertz sale, November 19, 2021, lot 510. Two plates numbered 471 and 483, Koller sale, September 30, 2021, lot 1476. Six plates numbered 221-258-291-292-294-345, Osenat sale, April 2, 2023, lots 210, 211 and 212. One plate is in the Château de Fontainebleau, Musée Napoléon Ier, inv. 70 (since 1979). Literature Anne Dion-Tenenbaum, II. Les autres éléments du butin: les chefs d'œuvre de l'orfèvre Biennais. In exhibition catalog, La berline de Napoléon, le mystère du butin de Waterloo. Musée de la Légion d'Honneur, March 7 to July 8, 2012. Exhibition catalog, La berline de Napoléon, le mystère du butin de Waterloo. Musée de la Légion d'Honneur, March 7 to July 8, 2012, article by Anne Dion, pp. 258-272. Max Terrier, Le landau de Napoléon et son histoire, in Revue du Louvre, 1975, n° 2.

Estim. 4 000 - 6 000 EUR
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