Important molded, carved and gilded beech... - Lot 177 - Thierry de Maigret

Lot 177
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Estimation :
40000 - 60000 EUR
Important molded, carved and gilded beech... - Lot 177 - Thierry de Maigret
Important molded, carved and gilded beech salon furniture composed of six flat-back armchairs and a triple-evolution sofa decorated with rosettes, acanthus leaves, shells and foliage; the crosspieces have a squared base; sinuous arm brackets; curved scrolled legs joined by an X-shaped brace. X brace centered by a rose. Regency period. Tapestry upholstery with vases or baskets filled with flowers, peonies, tulips, carnations, etc., set against a cream background. Armchairs: H: 117 - W: 76 - D: 76 cm Sofa: H: 115 - W: 197 - D: 90 cm This salon furniture, composed of six armchairs and a sofa, has all the characteristics of the best Parisian designs of the late 1710s and early 1780s, revealing the interpenetration of two styles that led to the development of a new decorative aesthetic. Indeed, if the presence of certain details or motifs is still strongly marked by the art of carpenters from the end of Louis XIV's reign XIV, particularly in the treatment of the cross-braced crotch legs and the backrests entirely covered with tapestry panels, the general composition of the seats is enlivened, the armrests take on an animated form, the legs arch and the whole is elegantly enhanced with carved motifs of stylized shells and foliage. All these features are signs of a new taste that can be found on other similarly designed chairs from the same period, such as a carved and gilded wooden armchair in the Musée des Arts Décoratifs in Paris (published in G. Janneau, Le mobilier français, Les sièges, Paris, 1993, p.55, fig.89); natural wood salon furniture formerly on the Paris art market (reproduced in C. Demetrescu, Le style Régence, Les éditions de l'amateur, Paris, 2003, p.69, fig.44); a fabric-covered armchair with hunting decoration in the collections of the Musée de la Chasse in Paris (illustrated in R. Verdier, Le style Régence, no date, p.74-75); a seat belonging to A. and R. Ball that was featured in the exhibition French Taste in the Eighteenth Century, The Detroit Institute of Arts, April-June 1956; and a final armchair, without a crotch, which is part of a suite of ten chairs from the Château de la Roche-Guyon and on display at the Musée Nissim de Camondo Museum in Paris (see N. Gasc and G. Mabille, Le musée Nissim de Camondo, Paris, 1991, p.92).
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