{"id":24094,"date":"2024-02-13T16:23:41","date_gmt":"2024-02-13T15:23:41","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=24094"},"modified":"2024-10-18T15:52:49","modified_gmt":"2024-10-18T13:52:49","slug":"cistre-gerard-joseph-deleplanque","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2024\/02\/13\/cistre-gerard-joseph-deleplanque\/","title":{"rendered":"L\u2019ultime cistre r\u00e9alis\u00e9 par G\u00e9rard Joseph Deleplanque ?"},"content":{"rendered":"\n
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Provenant d\u2019une importante collection europ\u00e9enne, un remarquable cistre de G\u00e9rard Joseph Deleplanque sera vendu \u00e0 Vichy Ench\u00e8res le 13 avril 2024. De belle facture, ce cistre a la particularit\u00e9 d\u2019\u00eatre le seul instrument connu de Deleplanque dat\u00e9 de 1784. Or, cette date \u00e0 son importance, puisqu\u2019il s\u2019agit de l\u2019ann\u00e9e de mort du luthier. L\u2019instrument serait donc le dernier mod\u00e8le connu \u00e0 avoir \u00e9t\u00e9 r\u00e9alis\u00e9 avec certitude par Deleplanque, alors au sommet de son art.
D\u00e9couvrez cet ultime cistre qui, \u00e0 l\u2019aube de la disparition du mythique luthier lillois, allait aussi sonner le glas de l\u2019instrument\u2026<\/p>\n<\/blockquote>\n\n\n\n

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Etude d\u00e9taill\u00e9e de notre expert, J\u00e9r\u00f4me Casanova<\/a><\/div>\n\n\n\n
Catalogue<\/a><\/div>\n\n\n\n
Vente du 12 avril 2024<\/a><\/div>\n\n\n\n
Vente du 13 avril 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Le myst\u00e8re Deleplanque<\/h1>\n\n\n\n
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\"Lille,<\/a>
Lille, Vue de l’H\u00f4tel de Ville, 1850, Imp. Lemercier Paris<\/figcaption><\/figure>\n\n\n\n
\"Antoine<\/a>
Antoine Fr\u00e9min, Sainte C\u00e9cile, ch\u0153ur de Saint G\u00e9ry, Cambrai, 1741<\/figcaption><\/figure>\n\n\n\n
\"Sonate<\/a>
Sonate de caract\u00e8re pour la harpe, Amable Deleplanque<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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G\u00e9rard Joseph Deleplanque est le luthier lillois du XVIII\u00e8me si\u00e8cle par excellence. De sa naissance en 1723, \u00e0 sa mort en 1784, il demeure en effet toute sa vie \u00e0 Lille. N\u00e9 dans la paroisse Saint Etienne, on ne conna\u00eet malheureusement que peu de choses sur sa vie. Sa famille \u00e9tait originaire de Roubaix et son p\u00e8re, Fran\u00e7ois Deleplanque, \u00e9tait musicien et marchand grossiste. En 1736, alors \u00e2g\u00e9 de 12 ans, il commence un apprentissage de sculpteur aupr\u00e8s de Pierre Antoine Fremin et devient apprenti de la corporation des sculpteurs de Lille. En 1742, il pr\u00e9sente son chef-d’\u0153uvre, obtenant ainsi le statut de ma\u00eetre-artisan \u00e0 l’\u00e2ge de 19 ans. Compte tenu de l’absence de corporation de facteurs d’instruments, Deleplanque restera toute sa vie un membre actif de la corporation des tailleurs d’image, qui regroupait une vari\u00e9t\u00e9 de sculpteurs sur bois et sur pierre.<\/p>\n\n\n\n

Le 27 avril 1745, il \u00e9pouse Marie Caroline Joseph Lambelin, avec qui il aura six enfants, mais dont seuls Marie Marguerite Joseph et Amable Fran\u00e7ois Joseph survivront. Ce dernier se fera conna\u00eetre en tant que professeur de harpe et compositeur \u00e0 Paris.<\/p>\n<\/div>\n\n\n\n

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A partir de 1758, les archives qualifient G\u00e9rard Deleplanque de \u201cfaiseur d’instruments\u201d, \u201cluthier\u201d ou encore de \u201cma\u00eetre luthier\u201d, et ce jusqu\u2019\u00e0 sa mort. En r\u00e9alit\u00e9, il pourrait avoir \u00e9t\u00e9 luthier bien avant 1758, puisqu\u2019il est le t\u00e9moin de mariage du luthier Maximilien Delannoy, en 1750.<\/p>\n\n\n\n

Comme il \u00e9tait fr\u00e9quent au XVIIIe si\u00e8cle, Deleplanque cumulait les activit\u00e9s et diverses archives nous renseignent sur son statut de marchand grossiste, entre 1746 et 1756. Le nom de Deleplanque est \u00e9galement mentionn\u00e9 sur les couvertures de livres de musique, laissant supposer qu’une partie de son activit\u00e9 consistait \u00e0 distribuer des partitions. Notons enfin que son acte de d\u00e9c\u00e8s le d\u00e9crit en tant que \u201cmarchand luthier et ma\u00eetre sculpteur\u201d[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Informations biographiques provenant de Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d<\/p>\n\n\n\n

Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n<\/div>\n\n\n\n

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L’atelier Deleplanque<\/h1>\n\n\n\n
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Les archives nous permettent de situer l’atelier de Deleplanque au \u201cMarch\u00e9 aux Poulets, pr\u00e8s le march\u00e9 aux poissons\u201d (dit aussi March\u00e9 aux Entes) de 1758 \u00e0 1766-1768, puis \u00e0 la “Grande Chauss\u00e9e, au coin de celle des Dominicains” environ de 1768 \u00e0 1776, et enfin sur la “Place de Ribour, pr\u00e8s l’H\u00f4tel de Ville”. <\/p>\n\n\n\n

En 1767, sa fille Marie Marguerite \u00e9pouse Pierre Joseph Peerens, horloger de m\u00e9tier. Chose int\u00e9ressante, son acte de mariage pr\u00e9cise qu\u2019il est “horloger musicien”[1]<\/sup><\/a>.<\/p>\n\n\n\n

Peerens pourrait avoir rejoint l’atelier de Deleplanque peu apr\u00e8s son mariage, apportant avec lui ses comp\u00e9tences d\u2019horloger, utiles notamment pour la fabrication de m\u00e9caniques innovantes. Au d\u00e9c\u00e8s de Deleplanque en 1784, \u00e0 l’\u00e2ge de 61 ans, Peerens assiste la veuve du luthier, Marie Caroline, dans la reprise de l’atelier puis, \u00e0 la mort de celle-ci survenue autour de 1788-89, il poursuit la production jusqu\u2019\u00e0 sa propre disparition en 1819. En revanche, l’absence de stock de bois semble indiquer que durant cette \u00e9poque, Peerens ne fabriquait plus d’instruments lui-m\u00eame, ce qui pourrait expliquer le peu d’instruments connus de la p\u00e9riode “Peerens-Deleplanque”.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n\n\n\n

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\"Rue<\/a>
Rue du vieux march\u00e9 aux poulets, Lille<\/figcaption><\/figure>\n\n\n\n
\"Rue<\/a>
Rue de la Grande Chauss\u00e9e<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Deleplanque<\/a>
Deleplanque Peerens, Guitare, 1793, Rijksmuseum, Amsterdam<\/figcaption><\/figure>\n\n\n\n
\"G\u00e9rard<\/a>
G\u00e9rard Deleplanque, guitare, 1761, Mus\u00e9e des Instruments de Musique MIM, Bruxelles<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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L\u2019\u00e9tude r\u00e9alis\u00e9e sur le luthier et publi\u00e9e en 2018 dans le Galpin Society Journal<\/em>[1]<\/sup><\/a> a permis d\u2019\u00e9tablir un premier corpus d\u2019instruments fabriqu\u00e9s par l\u2019atelier Deleplanque, comptant plus d\u2019une soixantaine de mod\u00e8les. En comparaison avec les autres luthiers de province connus au XVIII\u00e8me si\u00e8cle, la production de Deleplanque \u00e9tait tr\u00e8s importante. L\u2019inventaire des oeuvres de Deleplanque a \u00e9galement permis de distinguer les diff\u00e9rences entre les instruments fabriqu\u00e9s par G\u00e9rard Joseph Deleplanque de 1758 \u00e0 1784, de ceux de l’atelier Deleplanque dirig\u00e9 par sa veuve et son gendre Peerens de 1784 \u00e0 1789, et ceux de Pierre Joseph Peerens de 1789 \u00e0 1819. L\u2019instrument le plus ancien que nous connaissons est une guitare de 1761, conserv\u00e9e au Mus\u00e9e de Bruxelles (MIM). Cette derni\u00e8re porte l\u2019\u00e9tiquette \u201cG\u00e9rard Joseph DELEPLANQUE Luthier au March\u00e9 aux poulets \u00e0 Lille. 1761\u201d.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Les cistres<\/h1>\n\n\n\n
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\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n
Cistre de DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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La majorit\u00e9 des instruments connus de Deleplanque sont des instruments \u00e0 cordes pinc\u00e9es, notamment des cistres, tr\u00e8s en vogue \u00e0 l\u2019\u00e9poque. Parmi ces instruments, deux mod\u00e8les r\u00e9alis\u00e9s en 1764 sont particuli\u00e8rement int\u00e9ressants car ils pr\u00e9sentent une caisse en bateau – c\u2019est-\u00e0-dire une table plus large que le dos – et t\u00e9moignent de l\u2019esprit cr\u00e9atif de Deleplanque.<\/p>\n\n\n\n

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Consultez notre article sur deux rares exemples de caisses en bateau<\/a><\/div>\n<\/div>\n\n\n\n

Les cistres, qui repr\u00e9sentent la majorit\u00e9 des instruments retrouv\u00e9s, ont g\u00e9n\u00e9ralement 11 cordes m\u00e9talliques, bien que certains en aient 10 ou 12. Leur forme varie, avec des corps en forme d’amande ou de luth, \u00e0 dos plat ou bomb\u00e9. L’\u00e9tude minutieuse r\u00e9alis\u00e9e en 2018 sur les instruments de Deleplanque a en effet r\u00e9v\u00e9l\u00e9 une grande diversit\u00e9 de formes et de dimensions. Cette diversit\u00e9 sugg\u00e8re que Deleplanque n’a pas suivi de mod\u00e8le standardis\u00e9 pour fabriquer ses instruments, pr\u00e9f\u00e9rant sans doute une approche plus personnelle et adapt\u00e9e \u00e0 chaque pi\u00e8ce. L’examen des chevilliers a \u00e9galement offert un aper\u00e7u int\u00e9ressant de l’\u00e9volution des techniques puisque, apr\u00e8s l\u2019arriv\u00e9e de Peerens en 1769, presque tous les cistres semblent \u00e9quip\u00e9s d\u2019un m\u00e9canisme \u00e0 cl\u00e9 en laiton rempla\u00e7ant les traditionnelles chevilles en bois, comme on peut l\u2019observer sur le cistre de la vente Vichy Ench\u00e8res d\u2019avril 2024. Il est possible que Peerens, horloger de formation, ait jou\u00e9 un r\u00f4le significatif dans l’adoption de ce m\u00e9canisme semblable \u00e0 celui des cl\u00e9s de montre. Les plus anciens exemples de ce genre se trouvent en Angleterre, autour des ann\u00e9es 1750, et sont justement le fruit d\u2019une collaboration entre un facteur d\u2019instrument et un horloger (Reinerus Liessem et John Basire)[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Panagiotis Poulopoulos, Aspects of Technology in Populuxe Musical Instruments of the Late Eighteenth and Early Nineteenth Centuries<\/em>, Deutsches Museum Verlag, 2022<\/p>\n<\/div>\n\n\n\n

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\"Deleplanque,<\/a><\/figure>\n\n\n\n
\"Deleplanque,<\/a><\/figure>\n\n\n\n
\"Deleplanque,<\/a><\/figure>\n\n\n\n
\"Deleplanque,<\/a><\/figure>\n
Deleplanque, Cistres \u00e0 caisse en bateau, 1764,
Mus\u00e9e des Instruments de Musique MIM, Bruxelles<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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L’atelier de Deleplanque a connu une p\u00e9riode de forte production entre le milieu des ann\u00e9es 1760 et le d\u00e9but des ann\u00e9es 1780, en lien avec le go\u00fbt pour les cistres anglais et instruments \u00e9labor\u00e9s, tels que les guitares. Install\u00e9 alors rue de la Grande Chauss\u00e9e \u00e0 Lille, au c\u0153ur du quartier des affaires, l’atelier proposait une vaste gamme de cistres sophistiqu\u00e9s. <\/p>\n<\/div>\n\n\n\n

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En revanche, apr\u00e8s le d\u00e9c\u00e8s de Deleplanque, plus que quelques cistres semblent avoir \u00e9t\u00e9 produits par Peerens, tous fabriqu\u00e9s dans les ann\u00e9es 1790. En tout, une trentaine de cistres provenant de l\u2019atelier Deleplanque ont \u00e9t\u00e9 identifi\u00e9s, majoritairement fabriqu\u00e9s entre 1764 et 1790, p\u00e9riode correspondant \u00e0 la popularit\u00e9 de cet instrument en Europe.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cistre<\/a>
Cistre de DELEPLANQUE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Cistre<\/a>
Cistre de DELEPLANQUE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Deleplanque,<\/a>
Deleplanque, Cistre, 1768, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Vue<\/a>
Vue actuelle de l’ancien atelier de Deleplanque, \u00e0 l’angle de la rue de la Grande Chauss\u00e9e et de la rue Basse<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Le dernier instrument connu r\u00e9alis\u00e9 avant la mort de Deleplanque<\/h1>\n\n\n\n
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Ce cistre a \u00e9t\u00e9 r\u00e9alis\u00e9 en 1784, l\u2019ann\u00e9e de la mort de G\u00e9rard Joseph Deleplanque, certainement pour r\u00e9pondre \u00e0 une commande, comme c\u2019\u00e9tait le cas de ses instruments les plus sophistiqu\u00e9s.<\/p>\n\n\n\n

Il fait partie des 44 instruments inventori\u00e9s comme \u00e9tant de la main de G\u00e9rard Joseph Deleplanque, sur pr\u00e8s de 70 mod\u00e8les identifi\u00e9s sortant de son atelier[1]<\/sup><\/a>. Il est le seul connu dat\u00e9 de 1784, et le dernier \u00e0 porter une \u00e9tiquette dat\u00e9e, avant un cistre de 1790 inscrit “PEERENS – DELEPLANQUE \/ Marchand Luthier, au coin de \/ la rue de la Grande-Chauss\u00e9e, \/ \u00e0 Lille, 1790 [90 ms]”.<\/p>\n\n\n\n

En effet, apr\u00e8s la mort de G\u00e9rard Joseph Deleplanque en 1784, l\u2019atelier est repris par sa veuve puis par son genre Peerens jusqu\u2019en 1819, comme l’indique l\u2019\u00e9tiquette de l\u2019instrument de 1790, ce qui explique l\u2019existence d\u2019instruments post\u00e9rieurs \u00e0 1784. Toutefois, ceux-l\u00e0 ne sont pas de la main de G\u00e9rard Joseph Deleplanque, \u00e0 la diff\u00e9rence du cistre de la vente Vichy Ench\u00e8res du 13 avril 2024. L\u2019\u00e9tiquette de ce dernier est similaire \u00e0 celles que l\u2019on retrouve dans trois instruments r\u00e9alis\u00e9s \u00e0 la m\u00eame \u00e9poque, en 1782 et 1783.  Ces \u00e9tiquettes sont inscrites, \u00e0 l\u2019image de celle du cistre de 1784, “G\u00e9rard J. Deleplanque \/ Luthier, Rue de la Grande \/ Chauff\u00e9e, coin de celle des \/ Dominicains, \u00e0 Lille 178[4]”. En caract\u00e8res d’imprimerie, seul le dernier chiffre de l\u2019ann\u00e9e est \u00e9crit \u00e0 la main \u00e0 l\u2019encre. Ce type d\u2019\u00e9tiquette pr\u00e9sente \u00e9galement une frise en bordure, compos\u00e9e de fleurs \u00e0 huit p\u00e9tales apparaissant par intervalle le long d\u2019une rang\u00e9e de trois lignes, elle-m\u00eame ponctu\u00e9e d\u2019arabesques dans les angles[2]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n\n\n\n

[2]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n\n\n\n

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\"Deleplanque<\/a>
Deleplanque Peerens, Cistre, 1790, Mus\u00e9e des Instruments de Musique, Paris<\/figcaption><\/figure>\n\n\n\n
\"Cistre<\/a>
Cistre de DELEPLANQUE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Comme soulign\u00e9 dans l\u2019article de fond sur Deleplanque, la qualit\u00e9 d\u00e9corative et la sophistication de ses instruments semblent avoir augment\u00e9 tout au long de sa carri\u00e8re, en t\u00e9moigne l\u2019utilisation de plus en plus complexe de la nacre et de l\u2019\u00e9caille, ainsi que l\u2019\u00e9laboration de roses extr\u00eamement raffin\u00e9es \u00e0 l\u2019image de celle de ce cistre de 1784. Le fond et les \u00e9clisses sont orn\u00e9s de filets en \u00e9b\u00e8ne et en ivoire. La table d’harmonie, la rosace et la touche sont incrust\u00e9es de  motifs en nacre et \u00e9caille et entour\u00e9es de filets en \u00e9b\u00e8ne et ivoire. <\/p>\n<\/div>\n\n\n\n

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Deux m\u00e9daillons en nacre sont incrust\u00e9s sur la t\u00eate, l’un \u00e9tant monogramm\u00e9. Ce monogramme pourrait \u00eatre celui de G\u00e9rard Joseph Deleplanque puisqu\u2019il comporte un \u201cD\u201d et figure des t\u00eates d\u2019instruments vari\u00e9s, faisant probablement r\u00e9f\u00e9rence \u00e0 son atelier. Ce monogramme est, \u00e0 notre connaissance, unique, puisqu\u2019on ne le retrouve sur aucun autre instrument connu du luthier.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n
Cistre de DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Deleplanque et la vogue des cistres au XVIII\u00e8me si\u00e8cle<\/h1>\n\n\n\n
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\"Anonyme<\/a>
Anonyme fran\u00e7ais, Enfant musicien, 1728, Saint-Omer, mus\u00e9e de l’h\u00f4tel Sandelin<\/figcaption><\/figure>\n\n\n\n
\"Thomas<\/a>
Thomas Gainsborough, Portrait of Ann Ford (later Mrs. Philip Thicknesse), 1760 <\/figcaption><\/figure>\n\n\n\n
\"Robert<\/a>
Robert Dighton, February, circa 1781, British Museum<\/figcaption><\/figure>\n\n\n\n
\"Tischbein,<\/a>
Tischbein, Portrait of a Lady Holding a Hamburger Cithrinchen, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joshua<\/a>
Joshua Reynolds, Mrs Froude playing an english guitar or cittern, Minneapolis Institute of Arts<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Le cistre, qui \u00e9tait tomb\u00e9 en d\u00e9su\u00e9tude au milieu du XVII\u00e8me si\u00e8cle, conna\u00eet un regain de popularit\u00e9 vers 1770. L\u2019engouement est particuli\u00e8rement marqu\u00e9 en Angleterre, comme en t\u00e9moigne l\u2019iconographie picturale de l\u2019\u00e9poque. G\u00e9rard Joseph Deleplanque se distingue comme l\u2019un des principaux fabricants de cistres et consacre, \u00e0 cette \u00e9poque, les deux tiers de sa production \u00e0 la r\u00e9alisation de ce type d\u2019instrument. Il fabrique alors parmi ses plus beaux mod\u00e8les, \u00e0 l\u2019exemple du cistre de 1777 de la vente Vichy Ench\u00e8res du 1er mai 2021.
La localisation de son atelier \u00e0 Lille, capitale des Flandres alors tr\u00e8s prosp\u00e8re, a sans doute facilit\u00e9 son commerce avec l\u2019\u00e9tranger, dont l\u2019Angleterre.<\/p>\n<\/div>\n\n\n\n

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Bien que les archives r\u00e9v\u00e8lent la pr\u00e9sence de nombreux luthiers \u00e0 Lille contemporains \u00e0 Deleplanque, tels que Delannoy, Le Riche ou Le Blond, peu d\u2019instruments de ces artisans sont connus aujourd\u2019hui, \u00e0 la diff\u00e9rence des mod\u00e8les de Deleplanque qui furent davantage pr\u00e9serv\u00e9s. Comment expliquer cela ? Il se peut que leur aspect d\u00e9coratif tr\u00e8s prononc\u00e9 ait particip\u00e9 \u00e0 une tendance plus naturelle \u00e0 vouloir les prot\u00e9ger. Cela traduit aussi la grande renomm\u00e9e dont jouissait le luthier, puisque cette renomm\u00e9e assura une protection aux instruments jug\u00e9s dignes de valeur marchande et artistique.
D\u00e8s 1780, on observe que les cistres deviennent minoritaires dans la production de Deleplanque, ce dernier ayant certainement senti que l\u2019instrument allait \u00eatre mis de c\u00f4t\u00e9 au profit de la guitare. Le cistre de 1784 de la vente Vichy Ench\u00e8res du 13 avril 2024 est donc l\u2019un des derniers cistres – si ce n\u2019est l\u2019ultime – fabriqu\u00e9s par le luthier \u00e0 l\u2019aube de sa disparition\u2026et de celle de l\u2019instrument.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cistre<\/a>
Cistre de G\u00e9rard DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 1er mai 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Cistre<\/a>
Cistre de G\u00e9rard DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 1er mai 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Guillaume<\/a>
Guillaume Le Blond, Cistre, 1777, Mus\u00e9e de l’Hospice Comtesse, Lille, collection Hel, cr\u00e9dits Claude Theriez<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Toute l\u2019\u00e9quipe de Vichy Ench\u00e8res vous donne rendez-vous le 13 avril 2024 pour la vente de ce dernier cistre de G\u00e9rard Joseph Deleplanque, pr\u00e9figurant la fin du r\u00e8gne fulgurant de ce gracieux instrument\u2026<\/p>\n<\/blockquote>\n\n\n\n

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THE LAST CITTERN MADE BY G\u00c9RARD JOSEPH DELEPLANQUE?<\/h1>\n\n\n\n
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A remarkable cittern by G\u00e9rard Joseph Deleplanque, originating from an important European collection, will be sold at Vichy Ench\u00e8res on 13 April 2024. This beautifully crafted instrument is notable for being the only known instrument by Deleplanque dated 1784. It is an important year for this maker, as it is that of his death. This cittern could therefore be the last known instrument made by Deleplanque, who was then at the peak of his art. We invite you to discover this late cittern which was made at the dawn of the disappearance of the legendary maker from Lille, and whose advent would more generally coincide with the fall into disuse of the instrument itself.<\/p>\n<\/blockquote>\n\n\n\n

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J\u00e9r\u00f4me Casanova’s detailed study<\/a><\/div>\n\n\n\n
Catalog<\/a><\/div>\n\n\n\n
Sale on 12 April 2024<\/a><\/div>\n\n\n\n
Sale on 13 April 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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The Deleplanque mystery<\/h1>\n\n\n\n
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\"Lille,<\/a>
Lille, Vue de l’H\u00f4tel de Ville, 1850, Imp. Lemercier Paris<\/figcaption><\/figure>\n\n\n\n
\"Antoine<\/a>
Antoine Fr\u00e9min, Sainte C\u00e9cile, ch\u0153ur de Saint G\u00e9ry, Cambrai, 1741<\/figcaption><\/figure>\n\n\n\n
\"Sonate<\/a>
Sonate de caract\u00e8re pour la harpe, Amable Deleplanque<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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G\u00e9rard Joseph Deleplanque was the 18th century maker from Lille par excellence. From his birth in 1723 to his death in 1784, he never left his city. He was born in the parish of Saint Etienne, and unfortunately little is known about his life. His family was from Roubaix and his father, Fran\u00e7ois Deleplanque, was a musician and wholesale merchant. In 1736, then aged 12, he began an apprenticeship as a sculptor with Pierre Antoine Fremin and became an apprentice to the corporation of sculptors of Lille. In 1742, he submitted his masterpiece, obtaining the status of master craftsman at the age of 19. In the absence of a corporation of instrument makers, Deleplanque remained, throughout his life, an active member of the corporation of \u201cimage carvers\u201d, which brought together a variety of wood and stone carvers.<\/p>\n\n\n\n

On 27 April 1745, he married Marie Caroline Joseph Lambelin, with whom he had six children, but only Marie Marguerite Joseph and Amable Fran\u00e7ois Joseph survived. The latter became known as a harp teacher and composer in Paris.<\/p>\n<\/div>\n\n\n\n

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From 1758, historical archives describe G\u00e9rard Deleplanque as an \u201cinstrument maker\u201d, \u201cluthier\u201d or sometimes \u201cmaster violin maker\u201d, and this until his death. In reality, he could have been a violin maker well before 1758, as suggested by the fact that he was the best man at the wedding of violin maker Maximilien Delannoy in 1750.<\/p>\n\n\n\n

As was common in the 18th century, Deleplanque had a portfolio of activities and several historical documents inform us of his profession as a wholesale merchant between 1746 and 1756. The name Deleplanque also features on the covers of music books, suggesting that part of his activity consisted of distributing sheet music. Finally, it is worth noting that his death certificate describes him as an \u201cinstrument maker and merchant and master carver\u201d[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Informations biographiques provenant de Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d<\/p>\n\n\n\n

Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The Deleplanque workshop<\/h1>\n\n\n\n
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Historical archives allow us to locate Deleplanque’s workshop at the \u201cMarch\u00e9 aux Poulets, near the fish market\u201d (also known as March\u00e9 aux Entes) from 1758 to 1766-1768, then at the \u201cGrande Chauss\u00e9e, at the corner of that of the Dominicans\u201d approximately from 1768 to 1776, and finally on the \u201cPlace de Ribour, near the H\u00f4tel de Ville\u201d.. <\/p>\n\n\n\n

In 1767, his daughter Marie Marguerite married Pierre Joseph Peerens, a professional watchmaker. Interestingly enough, his marriage certificate indicates that he is a \u201cmusician watchmaker\u201d[1]<\/sup><\/a>.<\/p>\n\n\n\n

Peerens may have joined Deleplanque’s workshop shortly after his marriage, bringing with him his skills as a watchmaker, useful in particular for the manufacture of innovative mechanics. When Deleplanque died in 1784, at the age of 61, Peerens assisted the maker’s widow, Marie Caroline, in taking over the workshop and then, when she died around 1788-89, he became sole proprietor until his death in 1819. However, the absence of a stock of wood seems to indicate that during this period, Peerens no longer manufactured instruments, which could explain why there are few instruments known from the \u201cPeerens-Deleplanque\u201d period.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n\n\n\n

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\"Rue<\/a>
Rue du vieux march\u00e9 aux poulets, Lille<\/figcaption><\/figure>\n\n\n\n
\"Rue<\/a>
Rue de la Grande Chauss\u00e9e<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Deleplanque<\/a>
Deleplanque Peerens, Guitare, 1793, Rijksmuseum, Amsterdam<\/figcaption><\/figure>\n\n\n\n
\"G\u00e9rard<\/a>
G\u00e9rard Deleplanque, guitare, 1761, Mus\u00e9e des Instruments de Musique MIM, Bruxelles<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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The research carried out on the maker and published in 2018 in the Galpin Society Journal<\/em>[1]<\/sup><\/a> made it possible to draw an initial list of instruments manufactured by the Deleplanque workshop, including more than 60 examples. In comparison with other provincial makers known in the 18th century, Deleplanque’s production was very significant. The examination of Deleplanque’s output also highlighted differences between the instruments manufactured by G\u00e9rard Joseph Deleplanque from 1758 to 1784, those of the Deleplanque workshop run by his widow and his son-in-law Peerens from 1784 to 1789, and those of Pierre Joseph Peerens from 1789 to 1819. The oldest instrument we know is a guitar from 1761, kept at the Musee de Bruxelles (MIM). It bears the label \u201cG\u00e9rard Joseph DELEPLANQUE Luthier au March\u00e9 aux poulets a Lille. 1761\u201d.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The citterns<\/h1>\n\n\n\n
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\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n
Cistre de DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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The majority of known instruments by Deleplanque are plucked string instruments, in particular citterns, which very fashionable at the time. Amongst these instruments, two examples made in 1764 are particularly interesting because they have boat-shaped bodies \u2013 in other words, their front is wider than their back \u2013 and attest to the creative spirit of Deleplanque.<\/p>\n\n\n\n

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Consult our article about two rares examples of instruments with boat shape body<\/a><\/div>\n<\/div>\n\n\n\n

Citterns, which represent the majority of instruments known to this maker, generally have 11 metal strings, although some have 10 or 12. Their shape varies: they can have almond-shaped or lute-shaped bodies, and flat or rounded backs. The careful study of the instruments by Deleplanque, carried out in 2018, revealed a great diversity of shapes and dimensions. This diversity suggests that Deleplanque did not follow a standardized model to manufacture his instruments, preferring a more tailored approach for each piece. The examination of the headstocks also provided an interesting insight into their technical evolution since, after the arrival of Peerens in 1769, almost all the citterns appear to have been fitted with a brass key mechanism replacing the traditional wooden pegs, as can be observed on the cittern from the Vichy Ench\u00e8res sale in April 2024. It is possible that Peerens, a trained watchmaker, played a significant role in the adoption of this mechanism, similar to that of watch keys. The oldest examples of this kind of mechanism are found in England, around the 1750s, and are the result of a collaboration between an instrument maker and a watchmaker (Reinerus Liessem and John Basire) [1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Panagiotis Poulopoulos, Aspects of Technology in Populuxe Musical Instruments of the Late Eighteenth and Early Nineteenth Centuries<\/em>, Deutsches Museum Verlag, 2022<\/p>\n<\/div>\n\n\n\n

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\"Deleplanque,<\/a><\/figure>\n\n\n\n
\"Deleplanque,<\/a><\/figure>\n\n\n\n
\"Deleplanque,<\/a><\/figure>\n\n\n\n
\"Deleplanque,<\/a><\/figure>\n
Deleplanque, Cistre \u00e0 caisse en bateau, 1764,
Mus\u00e9e des Instruments de Musique MIM, Bruxelles<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Deleplanque’s workshop experienced a period of high demand between the mid-1760s and early 1780s, following the fashion for English citterns and elaborate instruments, such as guitars. His workshop, which was established at the time on rue de la Grande Chauss\u00e9e in Lille, in the heart of the business district, offered a wide range of elaborate citterns.<\/p>\n<\/div>\n\n\n\n

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On the other hand, after Deleplanque’s death, only a few citterns appear to have been produced by Peerens, and they were all made in the 1790s. In total, around 30 citterns from the Deleplanque workshop have been identified, mostly made between 1764 and 1790, which coincides with the period when this instrument was most popular in Europe.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cistre<\/a>
Cistre de DELEPLANQUE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Cistre<\/a>
Cistre de DELEPLANQUE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Deleplanque,<\/a>
Deleplanque, Cistre, 1768, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Vue<\/a>
Vue actuelle de l’ancien atelier de Deleplanque, \u00e0 l’angle de la rue de la Grande Chauss\u00e9e et de la rue Basse<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The last known instrument made by Deleplanque before his death<\/h1>\n\n\n\n
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This cittern was made in 1784, the year G\u00e9rard Joseph Deleplanque died, most probably as a commission, as was the case with his most sophisticated instruments.<\/p>\n\n\n\n

It is one of 44 instruments thought to have been made by G\u00e9rard Joseph Deleplanque himself, out of nearly 70 examples known to have been produced in his workshop[1]<\/sup><\/a>. It is the only one we know that is dated 1784, and the last instrument to bear a dated label, until a cittern from 1790 labelled \u201cPEERENS \u2013 DELEPLANQUE \/ Marchand Luthier, au coin de \/ la rue de la Grande-Chauss\u00e9e, \/ a Lille, 1790 [90ms]\u201d.<\/p>\n\n\n\n

Indeed, after the death of G\u00e9rard Joseph Deleplanque in 1784, the workshop was taken over by his widow and then by his son-in-law Peerens until 1819, as indicated by the label of the instrument from 1790, which explains the existence of instruments made after 1784. However, these are not by the hand of G\u00e9rard Joseph Deleplanque, unlike the cittern in the Vichy Ench\u00e8res sale on 13 April 2024. Its label is similar to those found in three instruments made around the same time, in 1782 and 1783. As with our cittern of 1784, these labels read: \u201cG\u00e9rard J. Deleplanque \/ Luthier, Rue de la Grande \/ Chauff\u00e9e, coin of celle des Dominicains, a Lille 178[4]\u201d, all in printed letters, except for the last digit of the year which is handwritten in ink. This type of label also features a decorative frieze around its edges, made up of flowers with eight petals appearing at regular interval along a row of three lines, itself punctuated with arabesques in the corners[2]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n\n\n\n

[2]<\/sup><\/a> Christine Hemmy, Philippe Brugui\u00e8re, Jean-Philippe Echard, \u201cNew Insights into the Life and Instruments of G\u00e9rard Joseph Deleplanque, Maker in Eighteenth-Century Lille\u201d. Galpin Society Journal<\/em>, n\u00b071, march 2018<\/p>\n<\/div>\n\n\n\n

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\"Deleplanque<\/a>
Deleplanque Peerens, Cistre, 1790, Mus\u00e9e des Instruments de Musique, Paris<\/figcaption><\/figure>\n\n\n\n
\"Cistre<\/a>
Cistre de DELEPLANQUE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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As highlighted in the in-depth article on Deleplanque, the quality of the decorations and the sophistication of his instruments seem to have increased as the years went by, as evidenced by the increasingly intricate use of mother-of-pearl and tortoiseshell, as well as the creation of extremely refined roses like that of this cittern from 1784. The back and sides are decorated with ebony and ivory purfling. The front, rosette and fingerboard are inlaid with mother-of-pearl and tortoiseshell patterns and surrounded by ebony and ivory purfling.<\/p>\n<\/div>\n\n\n\n

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Two mother-of-pearl medallions are inlaid on the head, with one featuring a monogram. This monogram could be that of G\u00e9rard Joseph Deleplanque since it includes a \u201cD\u201d and represents the heads of various instruments, probably a reference to his workshop. This monogram is, to our knowledge, unique, since it is not found on any other instrument known to this maker.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n\n\n\n
\"Cistre<\/a><\/figure>\n
Cistre de DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Deleplanque and the fashion for citterns in the 18th century<\/h1>\n\n\n\n
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\"Anonyme<\/a>
Anonyme fran\u00e7ais, Enfant musicien, 1728, Saint-Omer, mus\u00e9e de l’h\u00f4tel Sandelin<\/figcaption><\/figure>\n\n\n\n
\"Thomas<\/a>
Thomas Gainsborough, Portrait of Ann Ford (later Mrs. Philip Thicknesse), 1760 <\/figcaption><\/figure>\n\n\n\n
\"Robert<\/a>
Robert Dighton, February, circa 1781, British Museum<\/figcaption><\/figure>\n\n\n\n
\"Tischbein,<\/a>
Tischbein, Portrait of a Lady Holding a Hamburger Cithrinchen, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joshua<\/a>
Joshua Reynolds, Mrs Froude playing an english guitar or cittern, Minneapolis Institute of Arts<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The cittern, which had fallen into disuse in the middle of the 17th century, experienced a resurgence in popularity around 1770. This was particularly true in England, as evidenced by the paintings of the time. G\u00e9rard Joseph Deleplanque was one of the main manufacturers of citterns, devoting, at that time, two thirds of his production to this type of instrument. It was then that he produced some of his most beautiful examples, such as the 1777 cittern in the Vichy Ench\u00e8res sale on 1 May 2021. The location of his workshop in Lille, the then very prosperous capital of Flanders, undoubtedly facilitated his trade with foreign countries, including England.<\/p>\n<\/div>\n\n\n\n

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Although historical archives reveal the existence of several makers in Lille who were contemporaries of Deleplanque, such as Delannoy, Le Riche or Le Blond, few instruments from these makers have survived, unlike those of Deleplanque which were better preserved. The explanation for this might lie in the fact that their very ornamented appearance encouraged their owners to more carefully preserve them. This could also stem from the great reputation this maker enjoyed, which ensured that instruments made by him were better protected due to their commercial and artistic value.
From 1780, the proportion of citterns in Deleplanque’s production started to decrease, the maker having likely anticipated that the instrument would soon be put aside in favour of the guitar. The 1784 cittern in the Vichy Ench\u00e8res sale on 13 April 2024 is therefore one of the last \u2013 if not the last \u2013 cittern made by the maker at the dawn of his disappearance, and that of the instrument itself.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cistre<\/a>
Cistre de G\u00e9rard DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 1er mai 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Cistre<\/a>
Cistre de G\u00e9rard DELEPLANQUE
Instrument mis en vente par Vichy Ench\u00e8res le 1er mai 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Guillaume<\/a>
Guillaume Le Blond, Cistre, 1777, Mus\u00e9e de l’Hospice Comtesse, Lille, collection Hel, cr\u00e9dits Claude Theriez<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The entire Vichy Ench\u00e8res team looks forward to seeing you on 13 April 2024 for the sale of this last cittern by G\u00e9rard Joseph Deleplanque, foreshadowing the end of the dazzling popularity of this graceful instrument.<\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n