{"id":4060,"date":"2025-02-19T11:37:03","date_gmt":"2025-02-19T10:37:03","guid":{"rendered":"https:\/\/galerieleage.com\/?post_type=newsletter&p=4060"},"modified":"2025-03-15T11:44:57","modified_gmt":"2025-03-15T10:44:57","slug":"dominique-daguerre","status":"publish","type":"newsletter","link":"https:\/\/galerieleage.com\/en\/newsletter\/dominique-daguerre\/","title":{"rendered":"Dominique Daguerre"},"content":{"rendered":"\n
Adam Weisweiler (cabinetmaking attributed to), S\u00e8vres manufactory (porcelain), Drop-front secretary, probably delivered to Marie-Antoinette at Versailles<\/em> , detail, circa 1787, New York, Metropolitan Museum of Art (inv. 58.75.57)<\/figcaption><\/figure>\n\n\n\n

Dominique Daguerre is often considered the greatest Parisian dealer of the late Ancien R\u00e9gime. As a key player in the late-century Anglomania, he also supplied the aristocracy and the court with some of the finest objects of the Neoclassical period.<\/p>\n\n\n\n

Adam Weisweiler (cabinetmaking), S\u00e8vres manufactory (porcelain), Dominique Daguerre (under the direction of), Chiffonni\u00e8re table, acquired from Daguerre by the Comtesse de Provence,<\/em> 1784\u20131785, Versailles, Ch\u00e2teaux de Versailles et de Trianon (inv. V.2022.46)
\u00a9 Ch\u00e2teau de Versailles, Dist. RMN \/ \u00a9 Christophe Fouin<\/figcaption><\/figure>\n\n\n\n

Daguerre began his career with the marchand mercier<\/em> Simon-Philippe Poirier (circa 1720\u20131785), whom he joined in 1772. In 1777, when Poirier retired from business, he took over the management of La Couronne d\u2019or<\/em> in the Rue Saint-Honor\u00e9<\/em> , recovering his former partner\u2019s clientele. He also benefited from his relationships with the leading craftsmen of the time: Adam Weisweiler (1746\u22121820) for cabinetmaking, Georges Jacob (1738\u22121814) for joinery, Fran\u00e7ois R\u00e9mond (1747\u22121812) and Pierre Philippe Thomire (1751\u22121843) for bronzework. Daguerre then formed several partnerships, first the merchant Francotais from 1779 to 1789, and later with Martin-\u00c9loy Lignereux (1751\u22121809) from 1789 to 1793. He continued the production of lacquer, porcelain and hardstone veneered furniture that Poirier had initiated and particularly favored. He also quickly developed a distinctive taste, decisive in the change that took place in the decorative arts at the end of the century.<\/p>\n\n\n\n

Fran\u00e7ois R\u00e9mond (attributed to), Pair of candelabras delivered in 1786 by Dominique Daguerre for the Queen\u2019s Salon des Nobles at Versailles<\/em> , circa 1786, Mobilier national (inv. GML 9078.1)
\u00a9 Ch\u00e2teau de Versailles, Dist. RMN \/ \u00a9 Christophe Fouin<\/figcaption><\/figure>\n\n\n\n

Daguerre was one of the first promoters of Anglomania in Paris. He particularly appreciated Wedgwood porcelain and mahogany, and introduced them widely in France. From 1787 onwards, he became the exclusive representative of the British manufactory in Paris, selling pieces of porcelain alone or having them mounted on furniture. At the same time, Daguerre understood the appeal of his own production to English customers and their unrivaled \u201cFrench luxury\u201d. In 1789, he opened a boutique in Piccadilly, in the heart of London. Daguerre had already been supplying the Prince of Wales, the future George IV, and his entourage for two years, and provided most of the furniture for Carlton House and the Brighton Pavilion.<\/p>\n\n\n\n

Adam Weisweiler, Henry Holland (under the direction of), Console table delivered by Dominique Daguerre for the Prince of Wales for his Chinese Drawing Room at Carlton House<\/em> , vers 1787\u20131790, Londres, Royal collection trust (inv. RCIN 13)
Royal Collection Trust \/ \u00a9 His Majesty King Charles III 2023<\/figcaption><\/figure>\n\n\n\n

His business was particularly successful in France. All of Paris flocked to admire his latest creations, and the Baroness d\u2019Oberkirch wrote in her Memoirs<\/em> that \u201cyou couldn\u2019t get near his store, it was so crowded\u201d. The whole Europe, visiting Paris, bought furniture from him: the future Tsar Paul I in 1782, the King and Queen of Naples, and the Duke of Saxe-Teschen. At the French court, his main client was Queen Marie-Antoinette. For her, he delivered some of her furniture masterpieces, such as the Japanese lacquer and polished steel veneered writing table made in 1784 for her Versailles interior cabinet. The queen seems to have been very close to her dealer: in 1789, when the royal family had to leave Versailles, she entrusted him with the inventorying and preservation of her art collection.<\/p>\n\n\n\n

S\u00e8vres manufactory (porcelain), Jean-Claude-Thomas Chambellan Duplessis (mounts attributed to), Pair of mounted vases, after a design ordered by Daguerre in July 1782 to the manufactory<\/em> , circa 1782\u20131783, Londres, Wallace Collection (inv. C338\u20119)
\u00a9 The Wallace Collection<\/figcaption><\/figure>\n\n\n\n

The Revolution destabilized Daguerre\u2019s business, threatening a large part of his clientele. He fled to England, settling in London\u2019s Chelsea district in 1792. With his vaste stock of precious materials, he was still able to oversee the production of important furniture in the years following the storming of the Bastille. This Japanese lacquer secretary, made by Adam Weisweiler for the cabinetmaking and probably Fran\u00e7ois R\u00e9mond for the bronzework, is in line with the luxurious furniture he was delivering at the time. The delicacy of the workmanship, the richness of the materials used and the sophisticated design of the piece demonstrate the art of the marchand mercier<\/em> . The central medallion, particularly innovative for the period, is also characteristic of his taste.<\/p>\n\n\n\n

Adam Weisweiler (cabinetmaking), Fran\u00e7ois R\u00e9mond (bronzes attributed to), Dominique Daguerre (most probably supplied by), Drop-front secretary in Japanese lacquer<\/em> , detail, circa 1790\u20131795, Galerie L\u00e9age, former Alphonse then \u00c9douard de Rothschild Collection<\/figcaption><\/figure>\n\n\n\n

As an inspired visionary with access to the finest materials and the skills of the most talented craftsmen, Daguerre facilitated the creation of certain masterpieces of French art, admired throughout Europe.<\/p>\n\n\n\n

Bibliography:<\/h2>\n\n\n\n

Rose-Marie Herda-Mousseaux (dir.), La Fabrique du luxe : les marchands merciers parisiens au XVIIIe<\/sup> si\u00e8cle<\/em> , Mus\u00e9e Cognacq-Jay, 2018<\/p>\n","protected":false},"excerpt":{"rendered":"

Adam Weisweiler (cabinetmaking attributed to), S\u00e8vres manufactory (porcelain), Drop-front secretary, probably delivered to Marie-Antoinette at Versailles<\/em> , detail, circa 1787, New York, Metropolitan Museum of Art (inv. 58.75.57)<\/figcaption><\/figure>\n

Dominique Daguerre is often considered the greatest Parisian dealer of the late Ancien R\u00e9gime. As a key player in the late-century Anglomania, he also supplied the aristocracy and the court with some of the finest objects of the Neoclassical period.<\/p>\n","protected":false},"author":1,"featured_media":4058,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","inline_featured_image":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-4060","newsletter","type-newsletter","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":{"url_news1":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":438,"key":"field_64c00914a1189","label":"URL","name":"url_news1","aria-label":"","prefix":"acf","type":"url","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":437,"wrapper":{"width":"","class":"","id":""},"only_front":0,"frontend_admin_display_mode":"edit","no_values_message":"","wp-typography":"none","default_value":"","placeholder":"","wpml_cf_preferences":1,"_name":"url_news1","_valid":1}}},"mcc_id":null,"mcc_type":null,"mcc_status":null,"mcc_create_time":null,"mcc_send_time":null,"mcc_emails_sent":null,"mcc_delivery_status":null,"mcc_content_type":null,"mcc_archive_url":null,"mcc_long_archive_url":null,"mcc_plain_text":null,"mcc_content_html":null,"mcc_recipients":null,"mcc_list_id":null,"mcc_list_name":null,"mcc_segment_text":null,"mcc_recipient_count":null,"mcc_settings":null,"mcc_tracking":null,"mcc_social_card":null,"mcc_report_summary":null,"mcc___links":null,"mcc__edit_lock":null,"mcc__edit_last":null,"_links":{"self":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4060","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter"}],"about":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/types\/newsletter"}],"author":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/comments?post=4060"}],"version-history":[{"count":1,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4060\/revisions"}],"predecessor-version":[{"id":4061,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4060\/revisions\/4061"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media\/4058"}],"wp:attachment":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=4060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/categories?post=4060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/tags?post=4060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}