in cradling and transfer and that the corporations of the Ancien Regime
played a role in approving the qualifications of artisans.
After Jean-Louis died in 1783, he was succeeded by his son,
François-Toussaint Hacquin (1756–1832). The elder Hacquin had earlier
recommended his son to the painter Pierre, then in charge of the studio
of restoration in the administration of the Bâtiments du Roi.^4 François-
Toussaint may have been more a reliner than a cabinetmaker, for although
he was concerned with all types of support for pictures, he apparently
did not make the cradles, consigning this job to a joiner. However, he did
attach the cradles to the paintings.
Was François-Toussaint Hacquin, therefore, a “cabinetmaker” like
his father? He seems to have diversified his profession, and although he
himselfwas more concerned with canvas supports, he was assisted by
genuine specialists in wood. But in what precise tasks? And to what extent?
There are still many uncertainties with regard to the roles of the various
actors in the early restoration of wooden supports.
François-Toussaint Hacquin was succeeded by his son-in-law,
Guilloux Mortemard (1794–1870),^5 who also dealt with both wooden and
canvas supports. Mortemard was quite skilled at relining and transferring,
and in 1832 he was to transfer onto a new wood support a picture painted
by Van der Werff.^6 While he was very active between 1827 and 1832, his
traces disappeared in 1836. He reappeared at the competition of the
Louvre of1848, organized by Villot; he won that contest and received
orders until 1870.
The studio at 4, rue des Bourdonnais, then became Maison C.
Chapuis (a reliner mentioned as advisor to the Louvre by the curator
Gruyer in 1882), qualified to work on supports of either wood or canvas.
Thestudio became Maison Henry Leguay et Brisson, Successeurs Chapuis,
until 1911; Maison Brisson until 1922; Maison Leguay from 1924 to
1938–39; and, finall y, Maison Trinquier et Léon Gard, Successeurs Leguay,^7
qualified in all aspects of restoration, and focused especially on wood and
canvas supports. Puget, who had specialized in cradles in the Gard studio
in 1924,^8 trained Ernest Cosson (1882–1947), who subsequently trained his
grandson, Jacques Joyerot (b. 1930), in the restoration of supports. Joyerot
worked for the Gard studio (1945–48), then for the Malesset studio
(1951–57); he finally began work for the Louvre in 1962, moving to 13,
rue Sedaine, Eleventh Arrondissement, Paris, in 1964; in 1980 he moved to
Gagny, near Paris. This studio still works on both wood and canvas sup-
ports. Joyerot makes cradles but no longer works on wooden supports
for the Louvre.The studio at 17, quai des Grands-Augustins:
From Kiewert to RostainIn 1841 Paul Kiewert,^9 a reliner who had come to Paris from Belgium,
setup shop at 17, quai des Grands-Augustins and went into partnership
with the restorer Govaert. At the beginning of the twentieth century, the
senior Chauffrey, a reliner, went into partnership with Govaert.^10 In 1945
Gaston Chauffre y (d. 1955) went into partnership with Marc-Rodolphe
Muller (d. 1955).^11
The studio of Chauffrey-Muller subsequently became very impor-
tant. In addition to Gaston Chauffrey, it comprised his son Jean, a painter;
Marc-Rudolphe Muller, a restorer; and the specialists brought by Muller—W P S: T H Y H F 265