{"id":1927,"date":"2025-11-13T09:39:07","date_gmt":"2025-11-13T08:39:07","guid":{"rendered":"https:\/\/youngcollectors.galerieleage.com\/?post_type=product&p=1927"},"modified":"2026-04-03T14:13:39","modified_gmt":"2026-04-03T12:13:39","slug":"pair-of-rectangular-paintings-in-compigne-representing-a-riverside-landscape","status":"publish","type":"product","link":"https:\/\/youngcollectors.galerieleage.com\/en\/object\/pair-of-rectangular-paintings-in-compigne-representing-a-riverside-landscape\/","title":{"rendered":"Pair of rectangular paintings in compign\u00e9 representing a riverside landscape"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"
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France, second half of the xviii<\/span>th<\/sup> century                                                                                                                                                                                                                                                                                                            Attributed to Thomas Compign\u00e9                                                                                                                                                                                                                                                                                                                                      Pewter, gold leaf and silver                                                                                                                                                                                                                                                                                                                                      Gouache, colored varnishes<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"featured_media":2882,"template":"","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"_yc_description_objet":"","_yc_histoire_objet":"","_yc_etat_objet":""},"product_brand":[],"product_cat":[28],"product_tag":[],"class_list":{"0":"post-1927","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-non-categorise","8":"first","9":"instock","10":"taxable","11":"shipping-taxable","12":"purchasable","13":"product-type-simple"},"acf":{"cartel":{"simple_value_formatted":"

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France, second half of the xviii<\/span>th<\/sup> century<\/p>\n

Attributed to Thomas Compign\u00e9 <\/strong><\/p>\n

Pewter, gold leaf and silver<\/p>\n

Gouache, colored varnishes<\/p>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"

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France, second half of the xviii<\/span>th<\/sup> century<\/p>\r\n

Attributed to Thomas Compign\u00e9 <\/strong><\/p>\r\n

Pewter, gold leaf and silver<\/p>\r\n

Gouache, colored varnishes<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"

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France, second half of the xviii<\/span>th<\/sup> century<\/p>\r\n

Attributed to Thomas Compign\u00e9 <\/strong><\/p>\r\n

Pewter, gold leaf and silver<\/p>\r\n

Gouache, colored varnishes<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","field":{"ID":781,"key":"field_67f661144735a","label":"Cartel","name":"cartel","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"cartel","_valid":1}},"dimensions":{"simple_value_formatted":"

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 <\/p>\n

Height: 12,5 cm \u2013 5 inches<\/p>\n

Width: 17 cm \u2013 7 inches<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"

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Height: 12,5 cm \u2013 5 inches<\/p>\r\n

Width: 17 cm \u2013 7 inches<\/p>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"

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Height: 12,5 cm \u2013 5 inches<\/p>\r\n

Width: 17 cm \u2013 7 inches<\/p>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","field":{"ID":782,"key":"field_67f661254735b","label":"Dimensions","name":"dimensions","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":1,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wpml_cf_preferences":2,"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"_name":"dimensions","_valid":1}},"exemples_comparables":{"simple_value_formatted":"

Comparable works<\/h3>\n
    \n
  • Attributed to Thomas Compign\u00e9, View of the Ypres Canal at Furnes<\/em>,<\/em> second half of the 18th century, Galerie L\u00e9age collection.<\/li>\n
  • Attributed to Thomas Compign\u00e9, Pair of Compign\u00e9 panels, View of the Surroundings of Utrecht and <\/em>View of the Ypres Canal at Furnes<\/em>, second half of the 18th century, Galerie L\u00e9age collection.<\/li>\n<\/ul>\n","value_formatted":"

    Comparable works<\/h3>\r\n
      \r\n \t
    • Attributed to Thomas Compign\u00e9, View of the Ypres Canal at Furnes<\/em>,<\/em> second half of the 18th century, Galerie L\u00e9age collection.<\/li>\r\n \t
    • Attributed to Thomas Compign\u00e9, Pair of Compign\u00e9 panels, View of the Surroundings of Utrecht and <\/em>View of the Ypres Canal at Furnes<\/em>, second half of the 18th century, Galerie L\u00e9age collection.<\/li>\r\n<\/ul>","value":"

      Comparable works<\/h3>\r\n
        \r\n \t
      • Attributed to Thomas Compign\u00e9, View of the Ypres Canal at Furnes<\/em>,<\/em> second half of the 18th century, Galerie L\u00e9age collection.<\/li>\r\n \t
      • Attributed to Thomas Compign\u00e9, Pair of Compign\u00e9 panels, View of the Surroundings of Utrecht and <\/em>View of the Ypres Canal at Furnes<\/em>, second half of the 18th century, Galerie L\u00e9age collection.<\/li>\r\n<\/ul>","field":{"ID":783,"key":"field_67f661484735c","label":"Exemples comparables","name":"exemples_comparables","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":2,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"exemples_comparables","_valid":1}},"exemples_vraisemblablement_identiques":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":786,"key":"field_67f662067360c","label":"Exemples vraisemblablement identiques","name":"exemples_vraisemblablement_identiques","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":3,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"exemples_vraisemblablement_identiques","_valid":1}},"publications":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":784,"key":"field_67f661604735d","label":"Publications","name":"publications","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":4,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"publications","_valid":1}},"description_de_lobjet":{"simple_value_formatted":"

        This pair of Compign\u00e9 paintings depicts two riverside landscapes, animated with figures navigating on the water. Rectangular in shape, each work is executed on a sheet of stamped tin, enhanced with silver, gold leaf, and gouache. This skillful blend of materials creates a perfect union between painting and engraving. In the first painting, the scene shows, in the foreground, the winding bank of a river. A solitary figure, standing with his back turned, gazes at the water stretching into the distance. The horizontal silver-toned lines used to depict the river evoke a flat and tranquil surface. Two men are busy bringing their boat to shore. On the opposite bank to the left, a hamlet emerges, while two sailing boats appear in the distance. Another hamlet, similar to the first, can be glimpsed through sparse vegetation. The second painting offers a similar scene. Three calm bodies of water, separated by winding banks, structure the composition. On one, a horseman rides across the scene. On another, a figure seen from behind walks along the riverbank. In the background, a hamlet rises amid lush vegetation. A sailing boat and another vessel moored along the banks complete the view. Touches of gold in varied tones highlight certain details, creating contrasts and shadows that give the whole a delicate relief and subtle shimmer. The skies, painted in gouache in soft bluish-pink hues, reflect the gentle colors of a late afternoon. This chromatic range transitions harmoniously from rose to the deeper greys of the clouds, with birds flying overhead. Each painting is set in a frame decorated with gold borders, a pearl frieze, and waterleaf motifs.<\/p>\n","value_formatted":"This pair of Compign\u00e9 paintings depicts two riverside landscapes, animated with figures navigating on the water. Rectangular in shape, each work is executed on a sheet of stamped tin, enhanced with silver, gold leaf, and gouache. This skillful blend of materials creates a perfect union between painting and engraving. In the first painting, the scene shows, in the foreground, the winding bank of a river. A solitary figure, standing with his back turned, gazes at the water stretching into the distance. The horizontal silver-toned lines used to depict the river evoke a flat and tranquil surface. Two men are busy bringing their boat to shore. On the opposite bank to the left, a hamlet emerges, while two sailing boats appear in the distance. Another hamlet, similar to the first, can be glimpsed through sparse vegetation. The second painting offers a similar scene. Three calm bodies of water, separated by winding banks, structure the composition. On one, a horseman rides across the scene. On another, a figure seen from behind walks along the riverbank. In the background, a hamlet rises amid lush vegetation. A sailing boat and another vessel moored along the banks complete the view. Touches of gold in varied tones highlight certain details, creating contrasts and shadows that give the whole a delicate relief and subtle shimmer. The skies, painted in gouache in soft bluish-pink hues, reflect the gentle colors of a late afternoon. This chromatic range transitions harmoniously from rose to the deeper greys of the clouds, with birds flying overhead. Each painting is set in a frame decorated with gold borders, a pearl frieze, and waterleaf motifs.","value":"This pair of Compign\u00e9 paintings depicts two riverside landscapes, animated with figures navigating on the water. Rectangular in shape, each work is executed on a sheet of stamped tin, enhanced with silver, gold leaf, and gouache. This skillful blend of materials creates a perfect union between painting and engraving. In the first painting, the scene shows, in the foreground, the winding bank of a river. A solitary figure, standing with his back turned, gazes at the water stretching into the distance. The horizontal silver-toned lines used to depict the river evoke a flat and tranquil surface. Two men are busy bringing their boat to shore. On the opposite bank to the left, a hamlet emerges, while two sailing boats appear in the distance. Another hamlet, similar to the first, can be glimpsed through sparse vegetation. The second painting offers a similar scene. Three calm bodies of water, separated by winding banks, structure the composition. On one, a horseman rides across the scene. On another, a figure seen from behind walks along the riverbank. In the background, a hamlet rises amid lush vegetation. A sailing boat and another vessel moored along the banks complete the view. Touches of gold in varied tones highlight certain details, creating contrasts and shadows that give the whole a delicate relief and subtle shimmer. The skies, painted in gouache in soft bluish-pink hues, reflect the gentle colors of a late afternoon. This chromatic range transitions harmoniously from rose to the deeper greys of the clouds, with birds flying overhead. Each painting is set in a frame decorated with gold borders, a pearl frieze, and waterleaf motifs.","field":{"ID":615,"key":"field_67e67d7bae7bc","label":"Description de l'objet","name":"description_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":5,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"description_de_lobjet","_valid":1}},"histoire_de_lobjet":{"simple_value_formatted":"

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        The Creation Process of Compign\u00e9 Panels: Engraving, Embossing, Polychromy<\/h3>\n

         <\/p>\n

        The small paintings on tortoiseshell or tin, commonly known as \u201cCompign\u00e9,\u201d owe their name to Thomas Compign\u00e9, a Parisian tabletier active in the second half of the 18th century and established on Rue Greneta. Although this type of work is associated with his name, it remains uncertain whether he was their sole creator. These pieces, both precious in material and meticulous in execution, demonstrate a remarkable command of techniques that merge engraving and painting. The study of the present pair offers insight into this distinctive production.<\/p>\n

        The creation of Compign\u00e9 paintings relies on a metal matrix engraved on a lathe, which forms the cornerstone of the technique. The tabletier begins by engraving the primary elements of the composition into the matrix using a rose engine lathe, typically based on a pre-existing print.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

        \n
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        This use of printed models ensures compositional consistency while allowing for variation during the coloring phase.
        \nThe bronze matrix, robust enough for multiple impressions, renders relief with exceptional finesse, particularly evident in guilloch\u00e9 areas such as water surfaces and architectural elements, whose textures resemble embroidery or moir\u00e9 fabric. In the present panels, this craftsmanship is discernible and attests to a high level of technical expertise.<\/p>\n

        Compign\u00e9 employed two types of supports: tortoiseshell and tin. The tortoiseshell was softened in a bath of boiling water and oil before being pressed onto the matrix to retain the relief. Tin, being more malleable, allowed for faithful reproduction of the design without risk of damage. The two works under study were executed on tin, as evidenced by the texture, thickness, and uniformity of the embossing.<\/p>\n

        Once the matrix was impressed, the surface was painted with gouache, an opaque and covering water-based paint. The use of color and gilding varies according to the artist\u2019s inspiration. For instance, skies may differ significantly from one version of a composition to another. Human figures, often absent from the original matrix, are added in gouache; their number, position, and attire vary between examples.<\/p>\n

        Gilding, frequently found in Compign\u00e9 works, was likely applied with a brush after embossing, using gold gouache made of gum arabic and gold powder. This technique, preferred over mercury gilding (which was more hazardous and required heat), allowed for great precision in detailing. For larger areas such as frames, gold leaf might have been employed.<\/p>\n

         <\/p>\n

        Variations and Interpretations of Engraved Models<\/h3>\n

         <\/p>\n

        The compositions of the two works discussed here reproduce two 18th-century engravings after Aert van der Neer: one engraved by James Mason, held at the British Museum (Vue des environs d\u2019Utrecht, ca. 1750\u20131783, inv. 1861,1109.184), and the other by Jean-Jacques Leveau, housed at the Harvard Art Museum (View of the Ypres Canal at Furnes, inv. R3941). These sources are followed in their general structure, although transferring the image to a metal matrix results in a mirrored image.<\/p>\n

        In Leveau\u2019s engraving, the setting sun is the focal point. Its light organizes depth through backlighting and iridescence on the water\u2019s surface. This luminous principle is absent in Compign\u00e9\u2019s version, where the sun disc is deliberately omitted. Nevertheless, the landscape retains lateral lighting, suggesting the sun\u2019s implicit presence in the scene.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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        Thomas Compign\u00e9 selected a wide range of subjects for his works, drawing inspiration from current events, popular themes, and the specific requests of his clientele. He also produced works on commission. Many of the themes depicted relate directly to recent occurrences. Some scenes commemorate contemporary events, such as the inauguration of the new Pont de Neuilly or the Dauphine\u2019s charitable act in 1773. Others mark the completion of major projects; in 1772, upon the conclusion of Gabriel\u2019s works at the Ch\u00e2teau de Saint-Hubert, Compign\u00e9 created two views of the residence, which he presented to the king.<\/p>\n

        His iconographic sources are diverse. They include French engravings after works by contemporary artists such as Claude Joseph Vernet and Pierre-Antoine Baudouin, as well as foreign models, particularly after Canaletto and Aert van der Neer. Compign\u00e9 also drew from Jacques Rigaud\u2019s engravings in Maisons royales de France, featuring the Tuileries Palace, Luxembourg Palace, and a view of Paris from the Pont Royal. This broad repertoire was referred to by the artist as \u201cLandscapes, Marine Views, Architecture,\u201d with a few compositions falling into the category of \u201chistorical subjects.\u201d<\/p>\n

        Created in small formats for collectors\u2019 cabinets, Compign\u00e9\u2019s panels later evolved into larger formats, complete with decorative frames, intended for more spacious rooms. Some motifs were transposed into circular medallions or conceived as such from the outset. These medallions, mounted on snuffboxes or other luxury items, are often found today separated from their original mounts and regarded as autonomous works. Some were likely conceived with this purpose in mind, or offered as standalone, adaptable models in Compign\u00e9\u2019s boutique.<\/p>\n

        A label dated 1933 is affixed to the back of this pair, attesting to the interest these works attracted from early 20th-century museum curators and shedding light on the state of scholarship at that time. For a long period, these paintings remained understudied, both in terms of their authorship and technique.<\/p>\n

        Although many aspects of this production remain understudied, works executed using this technique are today generally attributed to the workshop of Thomas Compign\u00e9 or his close circle. Not all can be confidently attributed to him. However, the quality of execution, precision of detail, and fidelity to known compositions help distinguish works directly from his hand from those produced by followers. In the present case, the remarkable finesse of the highlights, the subtlety of the contrasts, and the stylistic coherence support an attribution to Thomas Compign\u00e9 himself.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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        Thomas Compign\u00e9<\/h3>\n

         <\/p>\n

        Despite the enduring fascination his works have held for connoisseurs of decorative art since the late 18th century, Thomas Compign\u00e9 himself remains an elusive figure. Over the past thirty years, some scholars have proposed an Italian origin\u2014an assumption based solely on orthographic variations in historical documents, where his name appears as Compigni, Compigni\u00e9, or Compign\u00e9, amid a broader context of inconsistency in the spelling of surnames. No conclusive evidence confirms this lineage, and his origins remain uncertain.<\/p>\n

        The earliest biographical records for Thomas Compign\u00e9 are dated around 1750, when he is documented as working in Paris, within the Temple enclosure. This district offered certain privileges, as it operated under a special status: that of royal artisan. In the 18th century, the Temple was among the few areas in Paris exempt from the guild system enforced throughout the capital. In 1756, he moved his workshop to Rue Greneta, at the sign of Roi David, an address he still occupied in 1778. As both manufacturer and vendor of his production, he developed a flourishing business that reached its peak in the early 1770s.<\/p>\n

        Practicing the profession of tabletier, Compign\u00e9 specialized in crafting and selling luxury objects: boxes, backgammon, checkers, and chess sets, snuffboxes, and cane handles made of blond tortoiseshell inlaid with gold. These items, executed with meticulous care, showcased mastery of a wide range of techniques such as wood or mother-of-pearl marquetry, ivory carving, lathe turning, and metal chasing. The choice of materials further enhanced their precious character: gold, silver, inlay, molded or gold-piqu\u00e9 tortoiseshell, ivory, native and exotic woods. This production catered to the Parisian taste of the period for refined and technically sophisticated objects.<\/p>\n

        Thomas Compign\u00e9 is among the rare 18th-century tabletiers whose name has been preserved, particularly because he took the unusual step\u2014early in his career\u2014of signing a significant portion of his works. This initiative was uncommon at the time. Several of his pieces bear the inscription \u201cCompign\u00e9, tabletier du roi,\u201d sometimes accompanied by a description of the subject and mention of the technique, such as \u201cturned on the lathe.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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        Between 1762 and 1773, he developed several new processes. A technique introduced in 1762 appears to have allowed the coloring of tortoiseshell in various hues. In 1766, he produced mourning snuffboxes in black tortoiseshell. In 1773, he designed boxes that could perfume the tobacco they contained. These innovations reflect his ongoing research in the decorative arts. Beginning in 1765, he developed an original technique using tabletier lathes, initially applied to the decoration of snuffboxes. This invention gave rise to a series of objects now known as \u201cCompign\u00e9\u201d: panels and medallions executed on tortoiseshell grounds or composed of colored gold alloys.<\/p>\n

        Compign\u00e9\u2019s fame in the capital grew from the late 1760s. Several gazettes praised the quality of his work between 1766 and 1773, describing objects as \u201cvery beautiful, inlaid with gold and various highly durable colors.\u201d He gained recognition when he presented his works at court on several occasions. On August 3, 1772, he submitted to the king and royal family, then in residence at Compi\u00e8gne, two medallions depicting a view of the Ch\u00e2teau de Versailles and a view of Paris from the Pont Royal. On December 14 of the same year, he presented to the king at Versailles two tortoiseshell panels: one sho@wing the Ch\u00e2teau de Saint-Hubert from the entrance side, and the other from the side of the pond. On December 19, 1773, he unveiled another composition at court, entitled Les Malheurs r\u00e9par\u00e9s par la Bienfaisance. Finally, on October 9, 1774, he presented two works to a member of the royal family: Joyeux av\u00e8nement de Louis XVI au tr\u00f4ne and L\u2019Ombre d\u2019Henri IV montrant au roi le chemin de la gloire.<\/p>\n

        In 1773, he received a royal appointment as tabletier du roi. A public notice issued in 1776 confirms that he was receiving a royal pension. That same year, the presentation of two views of the Ch\u00e2teau de Saint-Hubert to Louis XV earned him the title of tabletier privil\u00e9gi\u00e9 du roi, which he retained under Louis XVI. His clientele included several prominent members of the royal circle, among them Madame du Barry. Compign\u00e9\u2019s success in the 1760s and 1770s can be attributed to the diversity of his creations, their formal originality, and his capacity to respond to evolving fashions. In 1770, for example, he offered boxes with allegorical subjects related to the marriage of the Dauphin and Dauphine; in 1774, a mourning snuffbox commemorating the death of Louis XV and medallions celebrating the accession of Louis XVI.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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        After 1774, no further announcements mention new subjects for his lathe-executed panels. His activity appears to diminish from 1775 onwards. His most celebrated compositions depict cityscapes, monuments, or ch\u00e2teaux, often integrated into garden settings or animated landscapes with figures. By their meticulousness, topographical accuracy, and decorative richness, these works are firmly rooted in the tradition of the Enlightenment\u2019s precious arts.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"

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        The Creation Process of Compign\u00e9 Panels: Engraving, Embossing, Polychromy<\/h3>\r\n \r\n\r\nThe small paintings on tortoiseshell or tin, commonly known as \u201cCompign\u00e9,\u201d owe their name to Thomas Compign\u00e9, a Parisian tabletier active in the second half of the 18th century and established on Rue Greneta. Although this type of work is associated with his name, it remains uncertain whether he was their sole creator. These pieces, both precious in material and meticulous in execution, demonstrate a remarkable command of techniques that merge engraving and painting. The study of the present pair offers insight into this distinctive production.\r\n\r\nThe creation of Compign\u00e9 paintings relies on a metal matrix engraved on a lathe, which forms the cornerstone of the technique. The tabletier begins by engraving the primary elements of the composition into the matrix using a rose engine lathe, typically based on a pre-existing print.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nThis use of printed models ensures compositional consistency while allowing for variation during the coloring phase.\r\nThe bronze matrix, robust enough for multiple impressions, renders relief with exceptional finesse, particularly evident in guilloch\u00e9 areas such as water surfaces and architectural elements, whose textures resemble embroidery or moir\u00e9 fabric. In the present panels, this craftsmanship is discernible and attests to a high level of technical expertise.\r\n\r\nCompign\u00e9 employed two types of supports: tortoiseshell and tin. The tortoiseshell was softened in a bath of boiling water and oil before being pressed onto the matrix to retain the relief. Tin, being more malleable, allowed for faithful reproduction of the design without risk of damage. The two works under study were executed on tin, as evidenced by the texture, thickness, and uniformity of the embossing.\r\n\r\nOnce the matrix was impressed, the surface was painted with gouache, an opaque and covering water-based paint. The use of color and gilding varies according to the artist\u2019s inspiration. For instance, skies may differ significantly from one version of a composition to another. Human figures, often absent from the original matrix, are added in gouache; their number, position, and attire vary between examples.\r\n\r\nGilding, frequently found in Compign\u00e9 works, was likely applied with a brush after embossing, using gold gouache made of gum arabic and gold powder. This technique, preferred over mercury gilding (which was more hazardous and required heat), allowed for great precision in detailing. For larger areas such as frames, gold leaf might have been employed.\r\n\r\n \r\n

        Variations and Interpretations of Engraved Models<\/h3>\r\n \r\n\r\nThe compositions of the two works discussed here reproduce two 18th-century engravings after Aert van der Neer: one engraved by James Mason, held at the British Museum (Vue des environs d\u2019Utrecht, ca. 1750\u20131783, inv. 1861,1109.184), and the other by Jean-Jacques Leveau, housed at the Harvard Art Museum (View of the Ypres Canal at Furnes, inv. R3941). These sources are followed in their general structure, although transferring the image to a metal matrix results in a mirrored image.\r\n\r\nIn Leveau\u2019s engraving, the setting sun is the focal point. Its light organizes depth through backlighting and iridescence on the water\u2019s surface. This luminous principle is absent in Compign\u00e9\u2019s version, where the sun disc is deliberately omitted. Nevertheless, the landscape retains lateral lighting, suggesting the sun\u2019s implicit presence in the scene.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nThomas Compign\u00e9 selected a wide range of subjects for his works, drawing inspiration from current events, popular themes, and the specific requests of his clientele. He also produced works on commission. Many of the themes depicted relate directly to recent occurrences. Some scenes commemorate contemporary events, such as the inauguration of the new Pont de Neuilly or the Dauphine\u2019s charitable act in 1773. Others mark the completion of major projects; in 1772, upon the conclusion of Gabriel\u2019s works at the Ch\u00e2teau de Saint-Hubert, Compign\u00e9 created two views of the residence, which he presented to the king.\r\n\r\nHis iconographic sources are diverse. They include French engravings after works by contemporary artists such as Claude Joseph Vernet and Pierre-Antoine Baudouin, as well as foreign models, particularly after Canaletto and Aert van der Neer. Compign\u00e9 also drew from Jacques Rigaud\u2019s engravings in Maisons royales de France, featuring the Tuileries Palace, Luxembourg Palace, and a view of Paris from the Pont Royal. This broad repertoire was referred to by the artist as \u201cLandscapes, Marine Views, Architecture,\u201d with a few compositions falling into the category of \u201chistorical subjects.\u201d\r\n\r\nCreated in small formats for collectors\u2019 cabinets, Compign\u00e9\u2019s panels later evolved into larger formats, complete with decorative frames, intended for more spacious rooms. Some motifs were transposed into circular medallions or conceived as such from the outset. These medallions, mounted on snuffboxes or other luxury items, are often found today separated from their original mounts and regarded as autonomous works. Some were likely conceived with this purpose in mind, or offered as standalone, adaptable models in Compign\u00e9\u2019s boutique.\r\n\r\nA label dated 1933 is affixed to the back of this pair, attesting to the interest these works attracted from early 20th-century museum curators and shedding light on the state of scholarship at that time. For a long period, these paintings remained understudied, both in terms of their authorship and technique.\r\n\r\nAlthough many aspects of this production remain understudied, works executed using this technique are today generally attributed to the workshop of Thomas Compign\u00e9 or his close circle. Not all can be confidently attributed to him. However, the quality of execution, precision of detail, and fidelity to known compositions help distinguish works directly from his hand from those produced by followers. In the present case, the remarkable finesse of the highlights, the subtlety of the contrasts, and the stylistic coherence support an attribution to Thomas Compign\u00e9 himself.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        <\/div>\r\n<\/div>\r\n
        \r\n
        \r\n

        Thomas Compign\u00e9<\/h3>\r\n \r\n\r\nDespite the enduring fascination his works have held for connoisseurs of decorative art since the late 18th century, Thomas Compign\u00e9 himself remains an elusive figure. Over the past thirty years, some scholars have proposed an Italian origin\u2014an assumption based solely on orthographic variations in historical documents, where his name appears as Compigni, Compigni\u00e9, or Compign\u00e9, amid a broader context of inconsistency in the spelling of surnames. No conclusive evidence confirms this lineage, and his origins remain uncertain.\r\n\r\nThe earliest biographical records for Thomas Compign\u00e9 are dated around 1750, when he is documented as working in Paris, within the Temple enclosure. This district offered certain privileges, as it operated under a special status: that of royal artisan. In the 18th century, the Temple was among the few areas in Paris exempt from the guild system enforced throughout the capital. In 1756, he moved his workshop to Rue Greneta, at the sign of Roi David, an address he still occupied in 1778. As both manufacturer and vendor of his production, he developed a flourishing business that reached its peak in the early 1770s.\r\n\r\nPracticing the profession of tabletier, Compign\u00e9 specialized in crafting and selling luxury objects: boxes, backgammon, checkers, and chess sets, snuffboxes, and cane handles made of blond tortoiseshell inlaid with gold. These items, executed with meticulous care, showcased mastery of a wide range of techniques such as wood or mother-of-pearl marquetry, ivory carving, lathe turning, and metal chasing. The choice of materials further enhanced their precious character: gold, silver, inlay, molded or gold-piqu\u00e9 tortoiseshell, ivory, native and exotic woods. This production catered to the Parisian taste of the period for refined and technically sophisticated objects.\r\n\r\nThomas Compign\u00e9 is among the rare 18th-century tabletiers whose name has been preserved, particularly because he took the unusual step\u2014early in his career\u2014of signing a significant portion of his works. This initiative was uncommon at the time. Several of his pieces bear the inscription \u201cCompign\u00e9, tabletier du roi,\u201d sometimes accompanied by a description of the subject and mention of the technique, such as \u201cturned on the lathe.\u201d\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nBetween 1762 and 1773, he developed several new processes. A technique introduced in 1762 appears to have allowed the coloring of tortoiseshell in various hues. In 1766, he produced mourning snuffboxes in black tortoiseshell. In 1773, he designed boxes that could perfume the tobacco they contained. These innovations reflect his ongoing research in the decorative arts. Beginning in 1765, he developed an original technique using tabletier lathes, initially applied to the decoration of snuffboxes. This invention gave rise to a series of objects now known as \u201cCompign\u00e9\u201d: panels and medallions executed on tortoiseshell grounds or composed of colored gold alloys.\r\n\r\nCompign\u00e9\u2019s fame in the capital grew from the late 1760s. Several gazettes praised the quality of his work between 1766 and 1773, describing objects as \u201cvery beautiful, inlaid with gold and various highly durable colors.\u201d He gained recognition when he presented his works at court on several occasions. On August 3, 1772, he submitted to the king and royal family, then in residence at Compi\u00e8gne, two medallions depicting a view of the Ch\u00e2teau de Versailles and a view of Paris from the Pont Royal. On December 14 of the same year, he presented to the king at Versailles two tortoiseshell panels: one sho@wing the Ch\u00e2teau de Saint-Hubert from the entrance side, and the other from the side of the pond. On December 19, 1773, he unveiled another composition at court, entitled Les Malheurs r\u00e9par\u00e9s par la Bienfaisance. Finally, on October 9, 1774, he presented two works to a member of the royal family: Joyeux av\u00e8nement de Louis XVI au tr\u00f4ne and L\u2019Ombre d\u2019Henri IV montrant au roi le chemin de la gloire.\r\n\r\nIn 1773, he received a royal appointment as tabletier du roi. A public notice issued in 1776 confirms that he was receiving a royal pension. That same year, the presentation of two views of the Ch\u00e2teau de Saint-Hubert to Louis XV earned him the title of tabletier privil\u00e9gi\u00e9 du roi, which he retained under Louis XVI. His clientele included several prominent members of the royal circle, among them Madame du Barry. Compign\u00e9\u2019s success in the 1760s and 1770s can be attributed to the diversity of his creations, their formal originality, and his capacity to respond to evolving fashions. In 1770, for example, he offered boxes with allegorical subjects related to the marriage of the Dauphin and Dauphine; in 1774, a mourning snuffbox commemorating the death of Louis XV and medallions celebrating the accession of Louis XVI.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nAfter 1774, no further announcements mention new subjects for his lathe-executed panels. His activity appears to diminish from 1775 onwards. His most celebrated compositions depict cityscapes, monuments, or ch\u00e2teaux, often integrated into garden settings or animated landscapes with figures. By their meticulousness, topographical accuracy, and decorative richness, these works are firmly rooted in the tradition of the Enlightenment\u2019s precious arts.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"
        \r\n
        \r\n
        \r\n

        The Creation Process of Compign\u00e9 Panels: Engraving, Embossing, Polychromy<\/h3>\r\n \r\n\r\nThe small paintings on tortoiseshell or tin, commonly known as \u201cCompign\u00e9,\u201d owe their name to Thomas Compign\u00e9, a Parisian tabletier active in the second half of the 18th century and established on Rue Greneta. Although this type of work is associated with his name, it remains uncertain whether he was their sole creator. These pieces, both precious in material and meticulous in execution, demonstrate a remarkable command of techniques that merge engraving and painting. The study of the present pair offers insight into this distinctive production.\r\n\r\nThe creation of Compign\u00e9 paintings relies on a metal matrix engraved on a lathe, which forms the cornerstone of the technique. The tabletier begins by engraving the primary elements of the composition into the matrix using a rose engine lathe, typically based on a pre-existing print.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nThis use of printed models ensures compositional consistency while allowing for variation during the coloring phase.\r\nThe bronze matrix, robust enough for multiple impressions, renders relief with exceptional finesse, particularly evident in guilloch\u00e9 areas such as water surfaces and architectural elements, whose textures resemble embroidery or moir\u00e9 fabric. In the present panels, this craftsmanship is discernible and attests to a high level of technical expertise.\r\n\r\nCompign\u00e9 employed two types of supports: tortoiseshell and tin. The tortoiseshell was softened in a bath of boiling water and oil before being pressed onto the matrix to retain the relief. Tin, being more malleable, allowed for faithful reproduction of the design without risk of damage. The two works under study were executed on tin, as evidenced by the texture, thickness, and uniformity of the embossing.\r\n\r\nOnce the matrix was impressed, the surface was painted with gouache, an opaque and covering water-based paint. The use of color and gilding varies according to the artist\u2019s inspiration. For instance, skies may differ significantly from one version of a composition to another. Human figures, often absent from the original matrix, are added in gouache; their number, position, and attire vary between examples.\r\n\r\nGilding, frequently found in Compign\u00e9 works, was likely applied with a brush after embossing, using gold gouache made of gum arabic and gold powder. This technique, preferred over mercury gilding (which was more hazardous and required heat), allowed for great precision in detailing. For larger areas such as frames, gold leaf might have been employed.\r\n\r\n \r\n

        Variations and Interpretations of Engraved Models<\/h3>\r\n \r\n\r\nThe compositions of the two works discussed here reproduce two 18th-century engravings after Aert van der Neer: one engraved by James Mason, held at the British Museum (Vue des environs d\u2019Utrecht, ca. 1750\u20131783, inv. 1861,1109.184), and the other by Jean-Jacques Leveau, housed at the Harvard Art Museum (View of the Ypres Canal at Furnes, inv. R3941). These sources are followed in their general structure, although transferring the image to a metal matrix results in a mirrored image.\r\n\r\nIn Leveau\u2019s engraving, the setting sun is the focal point. Its light organizes depth through backlighting and iridescence on the water\u2019s surface. This luminous principle is absent in Compign\u00e9\u2019s version, where the sun disc is deliberately omitted. Nevertheless, the landscape retains lateral lighting, suggesting the sun\u2019s implicit presence in the scene.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nThomas Compign\u00e9 selected a wide range of subjects for his works, drawing inspiration from current events, popular themes, and the specific requests of his clientele. He also produced works on commission. Many of the themes depicted relate directly to recent occurrences. Some scenes commemorate contemporary events, such as the inauguration of the new Pont de Neuilly or the Dauphine\u2019s charitable act in 1773. Others mark the completion of major projects; in 1772, upon the conclusion of Gabriel\u2019s works at the Ch\u00e2teau de Saint-Hubert, Compign\u00e9 created two views of the residence, which he presented to the king.\r\n\r\nHis iconographic sources are diverse. They include French engravings after works by contemporary artists such as Claude Joseph Vernet and Pierre-Antoine Baudouin, as well as foreign models, particularly after Canaletto and Aert van der Neer. Compign\u00e9 also drew from Jacques Rigaud\u2019s engravings in Maisons royales de France, featuring the Tuileries Palace, Luxembourg Palace, and a view of Paris from the Pont Royal. This broad repertoire was referred to by the artist as \u201cLandscapes, Marine Views, Architecture,\u201d with a few compositions falling into the category of \u201chistorical subjects.\u201d\r\n\r\nCreated in small formats for collectors\u2019 cabinets, Compign\u00e9\u2019s panels later evolved into larger formats, complete with decorative frames, intended for more spacious rooms. Some motifs were transposed into circular medallions or conceived as such from the outset. These medallions, mounted on snuffboxes or other luxury items, are often found today separated from their original mounts and regarded as autonomous works. Some were likely conceived with this purpose in mind, or offered as standalone, adaptable models in Compign\u00e9\u2019s boutique.\r\n\r\nA label dated 1933 is affixed to the back of this pair, attesting to the interest these works attracted from early 20th-century museum curators and shedding light on the state of scholarship at that time. For a long period, these paintings remained understudied, both in terms of their authorship and technique.\r\n\r\nAlthough many aspects of this production remain understudied, works executed using this technique are today generally attributed to the workshop of Thomas Compign\u00e9 or his close circle. Not all can be confidently attributed to him. However, the quality of execution, precision of detail, and fidelity to known compositions help distinguish works directly from his hand from those produced by followers. In the present case, the remarkable finesse of the highlights, the subtlety of the contrasts, and the stylistic coherence support an attribution to Thomas Compign\u00e9 himself.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        <\/div>\r\n<\/div>\r\n
        \r\n
        \r\n

        Thomas Compign\u00e9<\/h3>\r\n \r\n\r\nDespite the enduring fascination his works have held for connoisseurs of decorative art since the late 18th century, Thomas Compign\u00e9 himself remains an elusive figure. Over the past thirty years, some scholars have proposed an Italian origin\u2014an assumption based solely on orthographic variations in historical documents, where his name appears as Compigni, Compigni\u00e9, or Compign\u00e9, amid a broader context of inconsistency in the spelling of surnames. No conclusive evidence confirms this lineage, and his origins remain uncertain.\r\n\r\nThe earliest biographical records for Thomas Compign\u00e9 are dated around 1750, when he is documented as working in Paris, within the Temple enclosure. This district offered certain privileges, as it operated under a special status: that of royal artisan. In the 18th century, the Temple was among the few areas in Paris exempt from the guild system enforced throughout the capital. In 1756, he moved his workshop to Rue Greneta, at the sign of Roi David, an address he still occupied in 1778. As both manufacturer and vendor of his production, he developed a flourishing business that reached its peak in the early 1770s.\r\n\r\nPracticing the profession of tabletier, Compign\u00e9 specialized in crafting and selling luxury objects: boxes, backgammon, checkers, and chess sets, snuffboxes, and cane handles made of blond tortoiseshell inlaid with gold. These items, executed with meticulous care, showcased mastery of a wide range of techniques such as wood or mother-of-pearl marquetry, ivory carving, lathe turning, and metal chasing. The choice of materials further enhanced their precious character: gold, silver, inlay, molded or gold-piqu\u00e9 tortoiseshell, ivory, native and exotic woods. This production catered to the Parisian taste of the period for refined and technically sophisticated objects.\r\n\r\nThomas Compign\u00e9 is among the rare 18th-century tabletiers whose name has been preserved, particularly because he took the unusual step\u2014early in his career\u2014of signing a significant portion of his works. This initiative was uncommon at the time. Several of his pieces bear the inscription \u201cCompign\u00e9, tabletier du roi,\u201d sometimes accompanied by a description of the subject and mention of the technique, such as \u201cturned on the lathe.\u201d\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nBetween 1762 and 1773, he developed several new processes. A technique introduced in 1762 appears to have allowed the coloring of tortoiseshell in various hues. In 1766, he produced mourning snuffboxes in black tortoiseshell. In 1773, he designed boxes that could perfume the tobacco they contained. These innovations reflect his ongoing research in the decorative arts. Beginning in 1765, he developed an original technique using tabletier lathes, initially applied to the decoration of snuffboxes. This invention gave rise to a series of objects now known as \u201cCompign\u00e9\u201d: panels and medallions executed on tortoiseshell grounds or composed of colored gold alloys.\r\n\r\nCompign\u00e9\u2019s fame in the capital grew from the late 1760s. Several gazettes praised the quality of his work between 1766 and 1773, describing objects as \u201cvery beautiful, inlaid with gold and various highly durable colors.\u201d He gained recognition when he presented his works at court on several occasions. On August 3, 1772, he submitted to the king and royal family, then in residence at Compi\u00e8gne, two medallions depicting a view of the Ch\u00e2teau de Versailles and a view of Paris from the Pont Royal. On December 14 of the same year, he presented to the king at Versailles two tortoiseshell panels: one sho@wing the Ch\u00e2teau de Saint-Hubert from the entrance side, and the other from the side of the pond. On December 19, 1773, he unveiled another composition at court, entitled Les Malheurs r\u00e9par\u00e9s par la Bienfaisance. Finally, on October 9, 1774, he presented two works to a member of the royal family: Joyeux av\u00e8nement de Louis XVI au tr\u00f4ne and L\u2019Ombre d\u2019Henri IV montrant au roi le chemin de la gloire.\r\n\r\nIn 1773, he received a royal appointment as tabletier du roi. A public notice issued in 1776 confirms that he was receiving a royal pension. That same year, the presentation of two views of the Ch\u00e2teau de Saint-Hubert to Louis XV earned him the title of tabletier privil\u00e9gi\u00e9 du roi, which he retained under Louis XVI. His clientele included several prominent members of the royal circle, among them Madame du Barry. Compign\u00e9\u2019s success in the 1760s and 1770s can be attributed to the diversity of his creations, their formal originality, and his capacity to respond to evolving fashions. In 1770, for example, he offered boxes with allegorical subjects related to the marriage of the Dauphin and Dauphine; in 1774, a mourning snuffbox commemorating the death of Louis XV and medallions celebrating the accession of Louis XVI.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nAfter 1774, no further announcements mention new subjects for his lathe-executed panels. His activity appears to diminish from 1775 onwards. His most celebrated compositions depict cityscapes, monuments, or ch\u00e2teaux, often integrated into garden settings or animated landscapes with figures. By their meticulousness, topographical accuracy, and decorative richness, these works are firmly rooted in the tradition of the Enlightenment\u2019s precious arts.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","field":{"ID":617,"key":"field_67e67ebc1f746","label":"Histoire de l'objet","name":"histoire_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":6,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"histoire_de_lobjet","_valid":1}},"bibliographie":{"simple_value_formatted":"

         <\/p>\n

        Bibliography<\/h3>\n
          \n
        • Les Compign\u00e9s et leurs cr\u00e9ateurs, ces d\u00e9licats chefs-d\u2019\u0153uvre de la tabletterie au XVIIIe si\u00e8cle<\/em>, Plaisir de France, no. 427, March 1975.<\/li>\n
        • Compign\u00e9, peintre et tabletier du Roy<\/em>, exhibition catalogue, Grasse, Villa-Mus\u00e9e Jean-Honor\u00e9 Fragonard, June\u2013July 1991.<\/li>\n<\/ul>\n","value_formatted":" \r\n

          Bibliography<\/h3>\r\n
            \r\n \t
          • Les Compign\u00e9s et leurs cr\u00e9ateurs, ces d\u00e9licats chefs-d\u2019\u0153uvre de la tabletterie au XVIIIe si\u00e8cle<\/em>, Plaisir de France, no. 427, March 1975.<\/li>\r\n \t
          • Compign\u00e9, peintre et tabletier du Roy<\/em>, exhibition catalogue, Grasse, Villa-Mus\u00e9e Jean-Honor\u00e9 Fragonard, June\u2013July 1991.<\/li>\r\n<\/ul>","value":" \r\n

            Bibliography<\/h3>\r\n
              \r\n \t
            • Les Compign\u00e9s et leurs cr\u00e9ateurs, ces d\u00e9licats chefs-d\u2019\u0153uvre de la tabletterie au XVIIIe si\u00e8cle<\/em>, Plaisir de France, no. 427, March 1975.<\/li>\r\n \t
            • Compign\u00e9, peintre et tabletier du Roy<\/em>, exhibition catalogue, Grasse, Villa-Mus\u00e9e Jean-Honor\u00e9 Fragonard, June\u2013July 1991.<\/li>\r\n<\/ul>","field":{"ID":780,"key":"field_67f660ee47359","label":"Bibliographie","name":"bibliographie","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":7,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"bibliographie","_valid":1}},"etat_de_lobjet":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":618,"key":"field_67e67ee61f747","label":"\u00c9tat de l'objet","name":"etat_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":8,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"etat_de_lobjet","_valid":1}},"informations_complementaires":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":619,"key":"field_67e67efb1f748","label":"Informations compl\u00e9mentaires","name":"informations_complementaires","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":9,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"informations_complementaires","_valid":1}},"":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":785,"key":"field_67f6616f4735e","label":"","name":"","aria-label":"","prefix":"acf","type":"text","value":null,"menu_order":10,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"title","default_value":"","maxlength":"","placeholder":"","prepend":"","append":"","wpml_cf_preferences":2,"_name":"","_valid":1}}},"mb":[],"mfb_rest_fields":["title"],"_links":{"self":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product\/1927","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/media\/2882"}],"wp:attachment":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=1927"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_brand?post=1927"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_cat?post=1927"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_tag?post=1927"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}