{"id":2216,"date":"2025-11-25T12:05:47","date_gmt":"2025-11-25T11:05:47","guid":{"rendered":"https:\/\/youngcollectors.galerieleage.com\/?post_type=product&p=2216"},"modified":"2026-01-07T17:57:49","modified_gmt":"2026-01-07T16:57:49","slug":"pair-of-compigne-medallions-depicting-a-view-of-the-port-of-bordeaux-and-a-view-of-the-obelisk-at-port-vendres-copie","status":"publish","type":"product","link":"https:\/\/youngcollectors.galerieleage.com\/en\/object\/pair-of-compigne-medallions-depicting-a-view-of-the-port-of-bordeaux-and-a-view-of-the-obelisk-at-port-vendres-copie\/","title":{"rendered":"Painting in compign\u00e9 depicting a view of the obelisk at Port-Vendres"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"
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\n
\n

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":2517,"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-2216","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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\n

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":"

\r\n
\r\n
\r\n

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":"

\r\n
\r\n
\r\n

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":"

 <\/p>\n

Height: 11.5 cm \u2013 4 \u00bd inches
Width: 11.5 cm \u2013 4 \u00bd inches<\/p>\n

 <\/p>\n","value_formatted":" \r\n

Height: 11.5 cm \u2013 4 \u00bd inches
Width: 11.5 cm \u2013 4 \u00bd inches<\/p>\r\n ","value":" \r\n

Height: 11.5 cm \u2013 4 \u00bd inches
Width: 11.5 cm \u2013 4 \u00bd inches<\/p>\r\n ","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":"","value_formatted":"","value":"","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 small Compign\u00e9 medallions depicts two urban views. These scenes are executed in gouache and heightened with gold applied to embossed tin sheets. One of the medallions shows the square of Port-Vendres. At its center rises an obelisk, crowned with a globe and a fleur-de-lis. The base of the monument bears the inscription \u201c\u00c0 La Gloire de Louis XVI.\u201d A fence surrounds it, marked at each corner by a shield. In the background stands a building reminiscent of an ancient temple, with a triangular pediment and four rows of columns. Several figures animate the square, while behind them a line of trees precedes a chain of mountains. The second medallion offers a view of the port of Bordeaux, seen from the Quai des Farines, as indicated by the cartouche at the bottom. In the foreground, four sedan chairs appear on the left, while merchants and sailors unload barrels lined up along the quay. To the left, the fa\u00e7ades of houses close the perspective, while to the right ships are moored alongside a few smaller boats. In each work, the entire scene has been embossed and entirely highlighted in gold, while the sky has been rendered in gouache. Both compositions are framed with a beaded border and set in a gilt bronze mount, itself inserted into a square frame covered in red velvet.<\/p>\n","value_formatted":"

This pair of small Compign\u00e9 medallions depicts two urban views. These scenes are executed in gouache and heightened with gold applied to embossed tin sheets. One of the medallions shows the square of Port-Vendres. At its center rises an obelisk, crowned with a globe and a fleur-de-lis. The base of the monument bears the inscription \u201c\u00c0 La Gloire de Louis XVI.\u201d A fence surrounds it, marked at each corner by a shield. In the background stands a building reminiscent of an ancient temple, with a triangular pediment and four rows of columns. Several figures animate the square, while behind them a line of trees precedes a chain of mountains. The second medallion offers a view of the port of Bordeaux, seen from the Quai des Farines, as indicated by the cartouche at the bottom. In the foreground, four sedan chairs appear on the left, while merchants and sailors unload barrels lined up along the quay. To the left, the fa\u00e7ades of houses close the perspective, while to the right ships are moored alongside a few smaller boats. In each work, the entire scene has been embossed and entirely highlighted in gold, while the sky has been rendered in gouache. Both compositions are framed with a beaded border and set in a gilt bronze mount, itself inserted into a square frame covered in red velvet.<\/p>","value":"

This pair of small Compign\u00e9 medallions depicts two urban views. These scenes are executed in gouache and heightened with gold applied to embossed tin sheets. One of the medallions shows the square of Port-Vendres. At its center rises an obelisk, crowned with a globe and a fleur-de-lis. The base of the monument bears the inscription \u201c\u00c0 La Gloire de Louis XVI.\u201d A fence surrounds it, marked at each corner by a shield. In the background stands a building reminiscent of an ancient temple, with a triangular pediment and four rows of columns. Several figures animate the square, while behind them a line of trees precedes a chain of mountains. The second medallion offers a view of the port of Bordeaux, seen from the Quai des Farines, as indicated by the cartouche at the bottom. In the foreground, four sedan chairs appear on the left, while merchants and sailors unload barrels lined up along the quay. To the left, the fa\u00e7ades of houses close the perspective, while to the right ships are moored alongside a few smaller boats. In each work, the entire scene has been embossed and entirely highlighted in gold, while the sky has been rendered in gouache. Both compositions are framed with a beaded border and set in a gilt bronze mount, itself inserted into a square frame covered in red velvet.<\/p>","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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\n
\n

The Compign\u00e9 Process: Engraving, Stamping, Polychromy<\/h3>\n

 <\/p>\n

The small paintings executed on tortoiseshell or tin, commonly known as \u201cCompign\u00e9s,\u201d are named after Thomas Compign\u00e9, a Parisian craftsman active in the second half of the 18th century, established on rue Greneta. Although his name is closely linked to this type of production, it is not certain that he was their sole creator. These works, precious in both material and execution, demonstrate technical mastery in combining engraving and painting. The study of the painting under analysis offers an opportunity to better understand this singular production.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n

The creation of a Compign\u00e9 piece begins with a lathe-engraved matrix\u2014central to the entire process. The craftsman incises the key elements of the composition into this bronze matrix using a guilloch\u00e9 lathe, usually inspired by an existing print. This use of printed models ensures consistent imagery while allowing variations during the coloring phase. The matrix, made of bronze for durability, allows for multiple stampings. The relief is rendered with remarkable finesse, especially visible in guilloch\u00e9 areas like water or architectural features, which resemble embroidered or moir\u00e9 fabric textures. In the painting analyzed, this work is perfectly exhibited and attests to a high level of technical mastery.<\/p>\n

Compign\u00e9 used two types of support: tortoiseshell and tin. Tortoiseshell, softened in a boiling water and oil bath, is pressed against the matrix to retain the relief. Tin, being more malleable, allows a faithful reproduction without damage. The present two pieces are made of tin, as shown by the texture, thickness, and precision of stamping. After stamping, the surface is painted with gouache\u2014an opaque water-based paint. Color combinations and gilding vary according to the artist\u2019s inspiration; skies, for instance, often differ between versions. Human figures, generally absent from the matrix, are added in gouache, and vary in number, position, and dress. Gilding, often used in Compign\u00e9 works, was likely applied with a brush using gold gouache (a mix of gum arabic and powdered gold). This technique, safer and more precise than mercury gilding, allows for detailed work. For larger areas like frames, gold leaf may be used.<\/p>\n

 <\/p>\n

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

 <\/p>\n

The compositions of his piece is based on pictorial models from the 18th century.
\nIt derives from a print designed by Charles de Wailly and preserved at the Mus\u00e9e Carnavalet (Ob\u00e9lisque \u00e9lev\u00e9 \u00e0 la Gloire de Louis XVI sur la Place du port Vendres, en Roussillon, ann\u00e9e 1780). Laureate of the Prix de Rome in 1752, de Wailly served as architect to the marquis de Marigny. This print illustrates the layout carried out at Port-Vendres at the initiative of the count of Mailly, commander-in-chief of the region, who commissioned de Wailly to draw up a plan of the new port. The square depicted, dedicated to the king, was according to a clearly defined commemorative program. The print represents a transcription of the original project, executed between 1782 and 1783.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n

The models were followed in their general composition. Certain elements, such as the figures or background details, may be simplified or omitted in their transfer onto tin.<\/p>\n

Thomas Compign\u00e9 drew on a wide range of subjects for his paintings. He found inspiration in current events, fashionable themes, and the particular requests of his clientele. Several compositions evoke contemporary events, such as the inauguration of the new Pont de Neuilly or the charitable act of the Dauphine in 1773. Others accompany the completion of major building projects. In 1772, at the conclusion of the works directed by Ange-Jacques Gabriel at the Ch\u00e2teau de Saint-Hubert, Compign\u00e9 executed two views of the residence intended to be presented to the king.<\/p>\n

The iconographic sources used are numerous. They comprise of French prints after Caude Joseph Vernet or Pierre-Antoine Baudoin, as well as models of foreign origin, notably after Canaletto or Aert van der Neer. Several compositions also derive from the series of the Maisons royales de France engraved by Jacques Rigaud, including the Tuileries Palace, the Luxembourg Palace, and a view of Paris from the Pont Royal. This corpus is referred to in workshop documents as \u201cLandscapes, Seascapes, Architecture\u201d, to which are added a few scenes classified as \u201chistoric subjects\u201d.<\/p>\n

Initially small in format, Compign\u00e9\u2019s paintings were conceived for collectors\u2019 cabinets. In a later phase, the adopted larger dimensions. These enlarged versions were accompanied by decorated frames and intended for reception rooms. Certain motifs were transposed into circular medallions or conceived directly in this format. These medallions, integrated into luxury objects such as snuffboxes, were often separated from their original supports. In some cases, they were conceived from the outset as autonomous pieces or sold individually in Compign\u00e9\u2019s shop to meet specific commissions.<\/p>\n

Despite the absence of exhaustive documentation on this body of work, pieces executed using this technique are generally attributed to the workshop of Thomas Compign\u00e9 or to his circle. Their attribution, however, remains subject to verification. The study of the quality of execution, formal rigor, and adherence to engraved compositions makes it possible to isolate works produced directly by the tabletier\u2019s hand. In the present case, the delicacy of the highlights, the modulation of contrasts, and the stylistic continuity support an attribution to Thomas Compign\u00e9 himself.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n

<\/h3>\n<\/div>\n<\/div>\n
\n
\n

Thomas Compign\u00e9<\/h3>\n

 <\/p>\n

Although Thomas Compign\u00e9\u2019s works fascinated art collectors in the late 18th century, the man himself remains poorly documented. Some 20th-century authors suggested Italian origins based on orthographic variations of his name (Compigni, Compigni\u00e9, Compign\u00e9), but no definitive proof exists.<\/p>\n

His biography begins around 1750 in Paris, in the Temple district\u2014a special area granting artisans certain privileges, including exemption from guild restrictions. In 1756, he moved to rue Greneta, under the sign of Roi David, where he remained until at least 1778. Both craftsman and merchant of his own creations, he enjoyed great success, peaking in the early 1770s.<\/p>\n

As a tabletier (luxury goods maker), he specialized in boxes, game boards, snuffboxes, cane handles\u2014crafted from blonde tortoiseshell inlaid with gold, ivory, exotic woods, or mother-of- pearl. These pieces required high skill in marquetry, metal chasing, ivory carving, and turning. Precious materials added to their appeal. His production catered to Parisian tastes for refined and technically complex objects.<\/p>\n

Thomas Compign\u00e9 is one of the few 18th-century tabletiers whose name endures, partly because he signed many of his works, which was unusual at the time. Several bear the inscription \u201cCompign\u00e9, tabletier du roi,\u201d often with the subject and technique noted, such as \u201cexecuted on the lathe.\u201d<\/p>\n

Between 1762 and 1773, he developed several innovations: in 1762, a method for coloring tortoiseshell; in 1766, mourning snuffboxes in black shell; and in 1773, scented boxes for tobacco. In 1765, he began using his turning lathes for decoration, leading to the so-called \u201cCompign\u00e9s\u201d: tableaux and medallions on tortoiseshell or colored gold.<\/p>\n

His renown increased steadily in Paris from the late 1760s, and between 1766 and 1773, several gazettes praised his creations as \"very beautiful, inlaid with gold and vivid colors.\" During this period, he had the honor of presenting his works at court on multiple occasions. On August 3, 1772, he showed two medallions at Compi\u00e8gne, representing views of Versailles and Paris seen from the Pont Royal. On December 14 of the same year, he presented two tortoiseshell tableaux at Versailles, both depicting views of the Ch\u00e2teau de Saint-Hubert. A year later, on December 19, 1773, he unveiled a new composition at court entitled Les Malheurs r\u00e9par\u00e9s par la Bienfaisance. Finally, on October 9, 1774, he presented two allegorical 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<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n

In recognition of his skill and contribution to the decorative arts, he was officially appointed tabletier du roi in 1773. A public notice from 1776 further indicates that he was granted a royal pension. Among his distinguished clientele were prominent figures from the royal court, including Madame du Barry. The success of Compign\u00e9\u2019s career can be attributed to the originality of his creations, the versatility of his techniques, and the diversity of his thematic repertoire. His works often responded to contemporary events and fashionable tastes\u2014for instance, allegorical boxes commemorating the Dauphin\u2019s wedding in 1770, a mourning snuffbox marking the death of Louis XV in 1774, and medallions celebrating the accession of Louis XVI.<\/p>\n

After 1774, no new subjects were recorded in relation to his engraved tableaux, and his activity appears to have declined after 1775. Nevertheless, his most iconic works remain the highly detailed representations of cities, monuments, and ch\u00e2teaux, often embedded within animated landscapes. Their precision, topographical accuracy, and rich decorative effects firmly situate his oeuvre within the refined tradition of 18th-century Enlightenment decorative arts.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"

\r\n
\r\n
\r\n

The Compign\u00e9 Process: Engraving, Stamping, Polychromy<\/h3>\r\n \r\n\r\nThe small paintings executed on tortoiseshell or tin, commonly known as \u201cCompign\u00e9s,\u201d are named after Thomas Compign\u00e9, a Parisian craftsman active in the second half of the 18th century, established on rue Greneta. Although his name is closely linked to this type of production, it is not certain that he was their sole creator. These works, precious in both material and execution, demonstrate technical mastery in combining engraving and painting. The study of the painting under analysis offers an opportunity to better understand this singular production.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n
\r\n\r\nThe creation of a Compign\u00e9 piece begins with a lathe-engraved matrix\u2014central to the entire process. The craftsman incises the key elements of the composition into this bronze matrix using a guilloch\u00e9 lathe, usually inspired by an existing print. This use of printed models ensures consistent imagery while allowing variations during the coloring phase. The matrix, made of bronze for durability, allows for multiple stampings. The relief is rendered with remarkable finesse, especially visible in guilloch\u00e9 areas like water or architectural features, which resemble embroidered or moir\u00e9 fabric textures. In the painting analyzed, this work is perfectly exhibited and attests to a high level of technical mastery.\r\n\r\nCompign\u00e9 used two types of support: tortoiseshell and tin. Tortoiseshell, softened in a boiling water and oil bath, is pressed against the matrix to retain the relief. Tin, being more malleable, allows a faithful reproduction without damage. The present two pieces are made of tin, as shown by the texture, thickness, and precision of stamping. After stamping, the surface is painted with gouache\u2014an opaque water-based paint. Color combinations and gilding vary according to the artist\u2019s inspiration; skies, for instance, often differ between versions. Human figures, generally absent from the matrix, are added in gouache, and vary in number, position, and dress. Gilding, often used in Compign\u00e9 works, was likely applied with a brush using gold gouache (a mix of gum arabic and powdered gold). This technique, safer and more precise than mercury gilding, allows for detailed work. For larger areas like frames, gold leaf may be used.\r\n\r\n \r\n

Variations and Interpretations of Engraved Models<\/h3>\r\n \r\n\r\nThe compositions of his piece is based on pictorial models from the 18th century.\r\nIt derives from a print designed by Charles de Wailly and preserved at the Mus\u00e9e Carnavalet (Ob\u00e9lisque \u00e9lev\u00e9 \u00e0 la Gloire de Louis XVI sur la Place du port Vendres, en Roussillon, ann\u00e9e 1780). Laureate of the Prix de Rome in 1752, de Wailly served as architect to the marquis de Marigny. This print illustrates the layout carried out at Port-Vendres at the initiative of the count of Mailly, commander-in-chief of the region, who commissioned de Wailly to draw up a plan of the new port. The square depicted, dedicated to the king, was according to a clearly defined commemorative program. The print represents a transcription of the original project, executed between 1782 and 1783.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n
\r\n\r\nThe models were followed in their general composition. Certain elements, such as the figures or background details, may be simplified or omitted in their transfer onto tin.\r\n\r\nThomas Compign\u00e9 drew on a wide range of subjects for his paintings. He found inspiration in current events, fashionable themes, and the particular requests of his clientele. Several compositions evoke contemporary events, such as the inauguration of the new Pont de Neuilly or the charitable act of the Dauphine in 1773. Others accompany the completion of major building projects. In 1772, at the conclusion of the works directed by Ange-Jacques Gabriel at the Ch\u00e2teau de Saint-Hubert, Compign\u00e9 executed two views of the residence intended to be presented to the king.\r\n\r\nThe iconographic sources used are numerous. They comprise of French prints after Caude Joseph Vernet or Pierre-Antoine Baudoin, as well as models of foreign origin, notably after Canaletto or Aert van der Neer. Several compositions also derive from the series of the Maisons royales de France engraved by Jacques Rigaud, including the Tuileries Palace, the Luxembourg Palace, and a view of Paris from the Pont Royal. This corpus is referred to in workshop documents as \u201cLandscapes, Seascapes, Architecture\u201d, to which are added a few scenes classified as \u201chistoric subjects\u201d.\r\n\r\nInitially small in format, Compign\u00e9\u2019s paintings were conceived for collectors\u2019 cabinets. In a later phase, the adopted larger dimensions. These enlarged versions were accompanied by decorated frames and intended for reception rooms. Certain motifs were transposed into circular medallions or conceived directly in this format. These medallions, integrated into luxury objects such as snuffboxes, were often separated from their original supports. In some cases, they were conceived from the outset as autonomous pieces or sold individually in Compign\u00e9\u2019s shop to meet specific commissions.\r\n\r\nDespite the absence of exhaustive documentation on this body of work, pieces executed using this technique are generally attributed to the workshop of Thomas Compign\u00e9 or to his circle. Their attribution, however, remains subject to verification. The study of the quality of execution, formal rigor, and adherence to engraved compositions makes it possible to isolate works produced directly by the tabletier\u2019s hand. In the present case, the delicacy of the highlights, the modulation of contrasts, and the stylistic continuity 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
\r\n

<\/h3>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n

Thomas Compign\u00e9<\/h3>\r\n \r\n\r\nAlthough Thomas Compign\u00e9\u2019s works fascinated art collectors in the late 18th century, the man himself remains poorly documented. Some 20th-century authors suggested Italian origins based on orthographic variations of his name (Compigni, Compigni\u00e9, Compign\u00e9), but no definitive proof exists.\r\n\r\nHis biography begins around 1750 in Paris, in the Temple district\u2014a special area granting artisans certain privileges, including exemption from guild restrictions. In 1756, he moved to rue Greneta, under the sign of Roi David, where he remained until at least 1778. Both craftsman and merchant of his own creations, he enjoyed great success, peaking in the early 1770s.\r\n\r\nAs a tabletier (luxury goods maker), he specialized in boxes, game boards, snuffboxes, cane handles\u2014crafted from blonde tortoiseshell inlaid with gold, ivory, exotic woods, or mother-of- pearl. These pieces required high skill in marquetry, metal chasing, ivory carving, and turning. Precious materials added to their appeal. His production catered to Parisian tastes for refined and technically complex objects.\r\n\r\nThomas Compign\u00e9 is one of the few 18th-century tabletiers whose name endures, partly because he signed many of his works, which was unusual at the time. Several bear the inscription \u201cCompign\u00e9, tabletier du roi,\u201d often with the subject and technique noted, such as \u201cexecuted on the lathe.\u201d\r\n\r\nBetween 1762 and 1773, he developed several innovations: in 1762, a method for coloring tortoiseshell; in 1766, mourning snuffboxes in black shell; and in 1773, scented boxes for tobacco. In 1765, he began using his turning lathes for decoration, leading to the so-called \u201cCompign\u00e9s\u201d: tableaux and medallions on tortoiseshell or colored gold.\r\n\r\nHis renown increased steadily in Paris from the late 1760s, and between 1766 and 1773, several gazettes praised his creations as \"very beautiful, inlaid with gold and vivid colors.\" During this period, he had the honor of presenting his works at court on multiple occasions. On August 3, 1772, he showed two medallions at Compi\u00e8gne, representing views of Versailles and Paris seen from the Pont Royal. On December 14 of the same year, he presented two tortoiseshell tableaux at Versailles, both depicting views of the Ch\u00e2teau de Saint-Hubert. A year later, on December 19, 1773, he unveiled a new composition at court entitled Les Malheurs r\u00e9par\u00e9s par la Bienfaisance. Finally, on October 9, 1774, he presented two allegorical 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\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n
\r\n\r\nIn recognition of his skill and contribution to the decorative arts, he was officially appointed tabletier du roi in 1773. A public notice from 1776 further indicates that he was granted a royal pension. Among his distinguished clientele were prominent figures from the royal court, including Madame du Barry. The success of Compign\u00e9\u2019s career can be attributed to the originality of his creations, the versatility of his techniques, and the diversity of his thematic repertoire. His works often responded to contemporary events and fashionable tastes\u2014for instance, allegorical boxes commemorating the Dauphin\u2019s wedding in 1770, a mourning snuffbox marking the death of Louis XV in 1774, and medallions celebrating the accession of Louis XVI.\r\n\r\nAfter 1774, no new subjects were recorded in relation to his engraved tableaux, and his activity appears to have declined after 1775. Nevertheless, his most iconic works remain the highly detailed representations of cities, monuments, and ch\u00e2teaux, often embedded within animated landscapes. Their precision, topographical accuracy, and rich decorative effects firmly situate his oeuvre within the refined tradition of 18th-century Enlightenment decorative arts.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"
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The Compign\u00e9 Process: Engraving, Stamping, Polychromy<\/h3>\r\n \r\n\r\nThe small paintings executed on tortoiseshell or tin, commonly known as \u201cCompign\u00e9s,\u201d are named after Thomas Compign\u00e9, a Parisian craftsman active in the second half of the 18th century, established on rue Greneta. Although his name is closely linked to this type of production, it is not certain that he was their sole creator. These works, precious in both material and execution, demonstrate technical mastery in combining engraving and painting. The study of the painting under analysis offers an opportunity to better understand this singular production.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n
\r\n\r\nThe creation of a Compign\u00e9 piece begins with a lathe-engraved matrix\u2014central to the entire process. The craftsman incises the key elements of the composition into this bronze matrix using a guilloch\u00e9 lathe, usually inspired by an existing print. This use of printed models ensures consistent imagery while allowing variations during the coloring phase. The matrix, made of bronze for durability, allows for multiple stampings. The relief is rendered with remarkable finesse, especially visible in guilloch\u00e9 areas like water or architectural features, which resemble embroidered or moir\u00e9 fabric textures. In the painting analyzed, this work is perfectly exhibited and attests to a high level of technical mastery.\r\n\r\nCompign\u00e9 used two types of support: tortoiseshell and tin. Tortoiseshell, softened in a boiling water and oil bath, is pressed against the matrix to retain the relief. Tin, being more malleable, allows a faithful reproduction without damage. The present two pieces are made of tin, as shown by the texture, thickness, and precision of stamping. After stamping, the surface is painted with gouache\u2014an opaque water-based paint. Color combinations and gilding vary according to the artist\u2019s inspiration; skies, for instance, often differ between versions. Human figures, generally absent from the matrix, are added in gouache, and vary in number, position, and dress. Gilding, often used in Compign\u00e9 works, was likely applied with a brush using gold gouache (a mix of gum arabic and powdered gold). This technique, safer and more precise than mercury gilding, allows for detailed work. For larger areas like frames, gold leaf may be used.\r\n\r\n \r\n

Variations and Interpretations of Engraved Models<\/h3>\r\n \r\n\r\nThe compositions of his piece is based on pictorial models from the 18th century.\r\nIt derives from a print designed by Charles de Wailly and preserved at the Mus\u00e9e Carnavalet (Ob\u00e9lisque \u00e9lev\u00e9 \u00e0 la Gloire de Louis XVI sur la Place du port Vendres, en Roussillon, ann\u00e9e 1780). Laureate of the Prix de Rome in 1752, de Wailly served as architect to the marquis de Marigny. This print illustrates the layout carried out at Port-Vendres at the initiative of the count of Mailly, commander-in-chief of the region, who commissioned de Wailly to draw up a plan of the new port. The square depicted, dedicated to the king, was according to a clearly defined commemorative program. The print represents a transcription of the original project, executed between 1782 and 1783.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n
\r\n\r\nThe models were followed in their general composition. Certain elements, such as the figures or background details, may be simplified or omitted in their transfer onto tin.\r\n\r\nThomas Compign\u00e9 drew on a wide range of subjects for his paintings. He found inspiration in current events, fashionable themes, and the particular requests of his clientele. Several compositions evoke contemporary events, such as the inauguration of the new Pont de Neuilly or the charitable act of the Dauphine in 1773. Others accompany the completion of major building projects. In 1772, at the conclusion of the works directed by Ange-Jacques Gabriel at the Ch\u00e2teau de Saint-Hubert, Compign\u00e9 executed two views of the residence intended to be presented to the king.\r\n\r\nThe iconographic sources used are numerous. They comprise of French prints after Caude Joseph Vernet or Pierre-Antoine Baudoin, as well as models of foreign origin, notably after Canaletto or Aert van der Neer. Several compositions also derive from the series of the Maisons royales de France engraved by Jacques Rigaud, including the Tuileries Palace, the Luxembourg Palace, and a view of Paris from the Pont Royal. This corpus is referred to in workshop documents as \u201cLandscapes, Seascapes, Architecture\u201d, to which are added a few scenes classified as \u201chistoric subjects\u201d.\r\n\r\nInitially small in format, Compign\u00e9\u2019s paintings were conceived for collectors\u2019 cabinets. In a later phase, the adopted larger dimensions. These enlarged versions were accompanied by decorated frames and intended for reception rooms. Certain motifs were transposed into circular medallions or conceived directly in this format. These medallions, integrated into luxury objects such as snuffboxes, were often separated from their original supports. In some cases, they were conceived from the outset as autonomous pieces or sold individually in Compign\u00e9\u2019s shop to meet specific commissions.\r\n\r\nDespite the absence of exhaustive documentation on this body of work, pieces executed using this technique are generally attributed to the workshop of Thomas Compign\u00e9 or to his circle. Their attribution, however, remains subject to verification. The study of the quality of execution, formal rigor, and adherence to engraved compositions makes it possible to isolate works produced directly by the tabletier\u2019s hand. In the present case, the delicacy of the highlights, the modulation of contrasts, and the stylistic continuity support an attribution to Thomas Compign\u00e9 himself.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
\r\n
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\r\n

<\/h3>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n

Thomas Compign\u00e9<\/h3>\r\n \r\n\r\nAlthough Thomas Compign\u00e9\u2019s works fascinated art collectors in the late 18th century, the man himself remains poorly documented. Some 20th-century authors suggested Italian origins based on orthographic variations of his name (Compigni, Compigni\u00e9, Compign\u00e9), but no definitive proof exists.\r\n\r\nHis biography begins around 1750 in Paris, in the Temple district\u2014a special area granting artisans certain privileges, including exemption from guild restrictions. In 1756, he moved to rue Greneta, under the sign of Roi David, where he remained until at least 1778. Both craftsman and merchant of his own creations, he enjoyed great success, peaking in the early 1770s.\r\n\r\nAs a tabletier (luxury goods maker), he specialized in boxes, game boards, snuffboxes, cane handles\u2014crafted from blonde tortoiseshell inlaid with gold, ivory, exotic woods, or mother-of- pearl. These pieces required high skill in marquetry, metal chasing, ivory carving, and turning. Precious materials added to their appeal. His production catered to Parisian tastes for refined and technically complex objects.\r\n\r\nThomas Compign\u00e9 is one of the few 18th-century tabletiers whose name endures, partly because he signed many of his works, which was unusual at the time. Several bear the inscription \u201cCompign\u00e9, tabletier du roi,\u201d often with the subject and technique noted, such as \u201cexecuted on the lathe.\u201d\r\n\r\nBetween 1762 and 1773, he developed several innovations: in 1762, a method for coloring tortoiseshell; in 1766, mourning snuffboxes in black shell; and in 1773, scented boxes for tobacco. In 1765, he began using his turning lathes for decoration, leading to the so-called \u201cCompign\u00e9s\u201d: tableaux and medallions on tortoiseshell or colored gold.\r\n\r\nHis renown increased steadily in Paris from the late 1760s, and between 1766 and 1773, several gazettes praised his creations as \"very beautiful, inlaid with gold and vivid colors.\" During this period, he had the honor of presenting his works at court on multiple occasions. On August 3, 1772, he showed two medallions at Compi\u00e8gne, representing views of Versailles and Paris seen from the Pont Royal. On December 14 of the same year, he presented two tortoiseshell tableaux at Versailles, both depicting views of the Ch\u00e2teau de Saint-Hubert. A year later, on December 19, 1773, he unveiled a new composition at court entitled Les Malheurs r\u00e9par\u00e9s par la Bienfaisance. Finally, on October 9, 1774, he presented two allegorical 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\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
\r\n
\r\n
\r\n\r\nIn recognition of his skill and contribution to the decorative arts, he was officially appointed tabletier du roi in 1773. A public notice from 1776 further indicates that he was granted a royal pension. Among his distinguished clientele were prominent figures from the royal court, including Madame du Barry. The success of Compign\u00e9\u2019s career can be attributed to the originality of his creations, the versatility of his techniques, and the diversity of his thematic repertoire. His works often responded to contemporary events and fashionable tastes\u2014for instance, allegorical boxes commemorating the Dauphin\u2019s wedding in 1770, a mourning snuffbox marking the death of Louis XV in 1774, and medallions celebrating the accession of Louis XVI.\r\n\r\nAfter 1774, no new subjects were recorded in relation to his engraved tableaux, and his activity appears to have declined after 1775. Nevertheless, his most iconic works remain the highly detailed representations of cities, monuments, and ch\u00e2teaux, often embedded within animated landscapes. Their precision, topographical accuracy, and rich decorative effects firmly situate his oeuvre within the refined tradition of 18th-century Enlightenment decorative 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
  • \u201cLes Compign\u00e9s et leurs cr\u00e9ateurs, ces d\u00e9licats chefs-d\u2019\u0153uvre de la tabletterie au XVIIIe si\u00e8cle\u201d<\/em>, Plaisir de France<\/em>, no. 427, March 1975.
    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
    • \u201cLes Compign\u00e9s et leurs cr\u00e9ateurs, ces d\u00e9licats chefs-d\u2019\u0153uvre de la tabletterie au XVIIIe si\u00e8cle\u201d<\/em>, Plaisir de France<\/em>, no. 427, March 1975.
      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
      • \u201cLes Compign\u00e9s et leurs cr\u00e9ateurs, ces d\u00e9licats chefs-d\u2019\u0153uvre de la tabletterie au XVIIIe si\u00e8cle\u201d<\/em>, Plaisir de France<\/em>, no. 427, March 1975.
        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\/2216","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\/2517"}],"wp:attachment":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=2216"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_brand?post=2216"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_cat?post=2216"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_tag?post=2216"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}