Album cover from an album of designs by Ouizille, French, eighteenth century.
NOT TO BE ISSUED WITHOUT PERMISSION FROM THE HEAD OF DESIGNS

Album of 42 leaves, containing 356 drawings and prints of goldsmiths' work and jewellery, 3 trade cards and 2 loose manuscript sheets formerly bound in red morocco (the boards now detached, the back fragmentary). The boards stamped in gilt with the arms, now erased, of a member of the Bourbon family, probably Louis-Henri, Prince of Condé (1692-1740). The backs of the boards covered successively in marbled paper, cream paper and blue sugar paper, the last now largely removed.

Bought with the assistance of contributions from Wartski Limited.

Hobhouse Limited. Bought with the assistance of contributions from Wartski Limited.

The red morocco binding and the boards stamped in gilt with the arms, now erased, of a member of the Bourbon family, probably Louis-Henri, Prince of Condé (1692-1740) is exactly the type of binding of books in the Queen of France, Marie-Antoinette's, library as described by Antonia Fraser, 'The Queen's books were generally bound in red morocco..., and the cover stamped in gold with her arms, those of France and Austria.' See References tab.

The album of designs is associated with the Paris workshop of Jean Ducrollay, Pierre-François Drais, and Charles Ouizille.

Attribution note: The album into which the drawings have been pasted or attached with sealing wax is an account book of the 1730s, blank but for the fourth and fifth pages, which are inscribed, respectively, with lists headed 'Desseins' and 'Tableaux'. These are perhaps associated with the collections of the Prince de Condé. The process of filling the album began at the back of the account book; the pages have now been numbered in that order. Page 1 has pasted on it three trade cards, described in detail in each catalogue record ( see E.897:3-5-1988). Direct markings on the pages are detailed in the Marks/Subjects tab.

The drawings and prints are arranged to a large extent haphazardly, objects of different dates being mixed up and several pieces being pasted in upside-down, but the presence of occasional aesthetically-related groupings may reflect gatherings of material when the album was being put together. The date of that process is uncertain. Although the first drawings certain to date from after 1800 (four in all) do not appear until p.64, there is no break in consistency of layout through the album, so it appears likely that the material was inserted at one go in the early nineteenth century. This idea is supported by the nature of the first page, with its careful exposition of the originators of the album's contents, although the mention of Arrivet, for which space has been allowed between the trade cards, remains a mystery. The annotations and drawings directly on the pages indicate that the album was kept in a workshop, presumably as a record of useful designs.

Ducrollay, Drais and Ouizille formed a series of connected partnerships. Jean Ducrollay became a master in 1734 and is believed to have retired in 1761. He was succeeded by Pierre-François Drais, his cousin and one of his chefs d'atelier. Drais became a master in 1763, jeweller to the King in 1770, and worked until his death in 1788. In 1786 Drais became associated with Charles Ouizille. Ouizille, who had became a master in 1771, became one of the King's jewellers in 1784. In 1816 he formed a partnership with Adrien-Jean-Maximilien Vachette (also a royal jeweller) and in 1820 with Petitjean. Ouizille died in 1830.

The close relationship betwen the contents of the album and known work by the three goldsmiths establishes that the material emanates from their workshops, as is suggested by the first page. Most of the material dates from the period 1755-90.

This is an album of 42 leaves containing 356 drawings and prints of goldsmiths' work and jewellery, 3 trade cards and 2 loose manuscript sheets, associated with the Paris workshops of Jean Ducrollay (1710-1787), Piere-François Drais (1726-1788), and Charles Ouizille (1744-1830). The designs in the album date from about 1735-1820 and includes those for snuffboxes, scent holders, watches and watch cases, spoons, fans and fan mounts, small swords, and chatelaines (ornamental chains, pins, or clasps usually worn at a woman's waist, to which trinkets, keys, purses, or other articles are attached). The album is bound in red morocco and the boards are stamped in gilt with the arms, now partly erased, of a member of the Bourbon family, probably Louis-Henri, Prince of Condé (1692-1740).

Ducrollay, Drais and Ouizille formed a series of connected partnerships. Jean Ducrollay became a master in 1734 and is believed to have retired in 1761. He was succeeeded by Pierre-François Drais, his cousin and one of his chefs d'atelier. Drais became a master in 1763, jeweller to the King in 1770, and worked until his death in 1788. In 1786 Drais became associated with Charles Ouizille. Ouizille, who had become master in 1771, became one of the King's jewellers in 1784. In 1816 he formed a partnership with Adrien-Jean-Maximilien Vachette (also a royal jeweller) and in 1820 with Petitjean. Ouizille died in 1830.

The close relationship between the contents of the album and known work by the three goldsmiths establishes that the material emanates from their workshops, as is suggested by the first page. Most of the material dates from the period 1755-90.

E.897:363-1988