{"id":5146,"date":"2025-10-22T14:46:38","date_gmt":"2025-10-22T12:46:38","guid":{"rendered":"https:\/\/galerieleage.com\/?post_type=newsletter&p=5146"},"modified":"2026-04-07T15:40:28","modified_gmt":"2026-04-07T13:40:28","slug":"francois-remond-1745-1747-1812","status":"publish","type":"newsletter","link":"https:\/\/galerieleage.com\/en\/newsletter\/francois-remond-1745-1747-1812\/","title":{"rendered":"Fran\u00e7ois R\u00e9mond (1745.1747\u22121812)"},"content":{"rendered":"\n
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Fran\u00e7ois-Aim\u00e9 Damerat (after), Fran\u00e7ois R\u00e9mond (bronze), Allegory of Science<\/em>, circa 1785\u20131790, New York, Metropolitan Museum of Art (inv. 07.225.510.416)<\/p>\n\n\n\n

An eminent bronze-maker of the reign of Louis XVI, Fran\u00e7ois R\u00e9mond (1745\u00f71747\u22121812) contributed to the creation of some of the finest pieces of furniture and works of art of the period. Long overshadowed by his fellow craftsman Pierre Gouthi\u00e8re (1732\u20131813), the rediscovery of his account books in 1983 revealed the full extent of his talent.<\/p>\n\n\n\n

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Fran\u00e7ois R\u00e9mond (bronzes), Sake bottle from the collection of the Marquise de Pompadour, mounted<\/em>, 1783, Paris, Mus\u00e9e Nissim de Camondo (inv. CAM 144)<\/p>\n\n\n\n

\u00a9 MAD, Paris \/ photo : Jean-Marie del Moral<\/p>\n\n\n\n

Fran\u00e7ois R\u00e9mond began his apprenticeship in 1763 with the gilder Pierre-Antoine Vial. In 1774, he was received as a master gilder and thus began a brilliant career. R\u00e9mond soon headed a large workshop capable of casting, chasing, and gilding the bronzes it produced. He employed many journeymen and entrusted the casting of certain pieces to outside workshops, notably the Forestier family. He drew inspiration from the models of the leading sculptors of his day\u2014particularly Louis-Simon Boizot (1743\u20131809), with whom he regularly collaborated\u2014and also created his own designs. By the 1780s, he was among the most prosperous craftsmen in his guild. His solid reputation brought him into contact with the finest artisans, merchants, and collectors. He collaborated with Jean-Henri Riesener (1734\u20131806) on the ornamentation of some of his furniture, and in the 1780s worked with the German cabinetmaker David Roentgen (1743\u20131807) on some of his most remarkable creations. The latter delivered nearly 130 pieces of furniture to Empress Catherine II of Russia in 1786, many of them mounted with bronzes by R\u00e9mond.<\/p>\n\n\n\n

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David Roentgen (cabinetmaking), Fran\u00e7ois R\u00e9mond (bronzes), Rolltop desk, probably acquired by Louis XVI in 1781<\/em>, circa 1781, Versailles, Ch\u00e2teaux de Versailles et de Trianon (inv. OA 5228)<\/p>\n\n\n\n

\u00a9 Ch\u00e2teau de Versailles, Dist. RMN \/ \u00a9 Christophe Fouin<\/p>\n\n\n\n

Fran\u00e7ois R\u00e9mond was particularly well connected among the Parisian marchands merciers. He worked for the most prominent of them\u2014Granchez, Julliot, and above all Dominique Daguerre. From 1779 to 1792, he supplied Daguerre with bronzes worth the colossal sum of 920,000 livres, equivalent to several million euros today. As the principal supplier to Queen Marie-Antoinette, Daguerre collaborated with the best craftsmen of his time\u2014Adam Weisweiler, Jean-Henri Riesener, and Pierre Gouthi\u00e8re\u2014whom he enlisted to serve the most discerning collectors. Through Daguerre, R\u00e9mond thus contributed to the creation of magnificent pieces. In 1783, he embellished two lacquer sak\u00e9<\/em> bottles from the collection of the Marquise de Pompadour with graceful gilt-bronze mounts, one of which is now preserved at the Mus\u00e9e Nissim de Camondo. After the Revolution, he continued to supply the marchand mercier<\/em>, who had moved to London, and later his associate Lignereux. Many of the bronzes at Carlton House, the London residence of the Prince of Wales, were of his making. A sumptuous secr\u00e9taire from the collection of Galerie L\u00e9age, executed around 1792 by Weisweiler and R\u00e9mond, offers another example of these splendid collaborations.<\/p>\n\n\n\n

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Adam Weisweiler (cabinetmaking), Fran\u00e7ois R\u00e9mond (bronzes attributed to), Dominique Daguerre (probably made under the direction of), Lacquer secretary<\/em>, circa 1792\u20131795, Galerie L\u00e9age, former Alphonse then Edouard de Rothschild\u2019s collection<\/p>\n\n\n\n

R\u00e9mond\u2019s immense talent gained him a particularly prestigious clientele. As Gouthi\u00e8re\u2019s workshop declined, R\u00e9mond took over several major commissions, notably for the Comte d\u2019Artois at Bagatelle, the Temple, and Versailles. Firedogs, candelabra, wall lights, and chandeliers rivaled one another in richness and sophistication. The pair of candelabra with ostriches, delivered in 1782 for the Turkish Cabinet of the Comte d\u2019Artois at Versailles, testifies to the bronzier\u2019s undisputed skill. He also took part in the creation of the writing table delivered by Daguerre in 1784 for the Queen\u2019s private cabinet at the Ch\u00e2teau de Saint-Cloud. Of exceptional richness, it combines lacquer panels with gilt-bronze and steel ornamentation. Among his other clients, R\u00e9mond counted the Dukes of Orl\u00e9ans and Penthi\u00e8vre, the Prince of Wales, and Princess Kinsky in Paris\u2014all refined connoisseurs.<\/p>\n\n\n\n

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Adam Weisweiler (cabinetmaking), Fran\u00e7ois R\u00e9mond (bronzes), Writing table delivered in 1784 by Daguerre for Marie Antoinette\u2019s boudoir at Saint-Cloud<\/em>, circa 1784, Paris, Mus\u00e9e du Louvre (inv. OA 5509)<\/p>\n\n\n\n

\u00a9 2012 Mus\u00e9e du Louvre, Dist. GrandPalaisRmn \/ Thierry Ollivier<\/p>\n\n\n\n

Fully in keeping with the fashion of his time, R\u00e9mond was one of the leading interpreters of the turkish taste. His works abound with sphinxes, griffins, arabesques, draperies, and chains\u2014motifs characteristic of this taste nourished by a fanciful exoticism. His many commissions for the Comte d\u2019Artois and Marie-Antoinette, both fascinated by the Orient, bear witness to it. R\u00e9mond himself contributed to this style by designing original models. Candelabra composed of three female fauns leaning against a smoking brazier were delivered for the Comte d\u2019Artois\u2019s Turkish Cabinet at Versailles in 1783, and reproduced in 1785 for Princess Kinsky. Varying his motifs, the bronzier later imagined candelabra composed of a seated sphinx for the same patron. The model proved highly popular: between 1783 and 1787, he produced thirteen similar pairs, twelve of which were delivered to Daguerre.<\/p>\n\n\n\n

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Fran\u00e7ois R\u00e9mond, Candelabra with faunesses, based on a model created for Princess Kinsky<\/em>, circa 1783, Paris, Mus\u00e9e du Louvre (inv. OA 6896)<\/p>\n\n\n\n

\u00a9 2011 Mus\u00e9e du Louvre, Dist. GrandPalaisRmn \/ Thierry Ollivier<\/p>\n\n\n\n

A masterpiece of virtuosity and elegance, Fran\u00e7ois R\u00e9mond\u2019s oeuvre embodies the perfection of gilt-bronze craftsmanship under the reign of Louis XVI. His success endured after the Revolution, though by the early nineteenth century he gradually yielded his place to Pierre-Philippe Thomire (1751\u20131843).<\/p>\n\n\n\n

Bibliography:<\/strong>
Pierre Verlet, Les Bronzes Dor\u00e9s Fran\u00e7ais du XVIIIe<\/sup> si\u00e8cle<\/em>, \u00c9ditions Picard, 1999
Anne Forray-Carlier, Sylvie Legrand-Rossi, B\u00e9atrice Quette, De Bronze et d\u2019Or. Bronzes dor\u00e9s du mus\u00e9e Nissim de Camondo<\/em>, Les Arts D\u00e9coratifs, 2024
Christian Baulez, \u201cFran\u00e7ois R\u00e9mond et le go\u00fbt turc dans la famille royale au temps de Louis XVI\u201d, in L\u2019Objet d\u2019Art<\/em> n\u00b02, d\u00e9cembre 1987, p.35\u201345<\/p>\n\n\n\n

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An eminent bronze-maker of the reign of Louis XVI, Fran\u00e7ois R\u00e9mond (1745\u00f71747\u22121812) contributed to the creation of some of the finest pieces of furniture and works of art of the period. Long overshadowed by his fellow craftsman Pierre Gouthi\u00e8re (1732\u20131813), the rediscovery of his account books in 1983 revealed the full extent of his talent.<\/p>\n","protected":false},"author":3,"featured_media":5149,"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-5146","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\/5146","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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/comments?post=5146"}],"version-history":[{"count":2,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/5146\/revisions"}],"predecessor-version":[{"id":5952,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/5146\/revisions\/5952"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media\/5149"}],"wp:attachment":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=5146"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/categories?post=5146"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/tags?post=5146"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}