31
Hubert Robert
1/3
Description
Project for the Place de la Concorde and for the Arc de Triomphe, looking towards the Champs-Elysées | Projet pour l'aménagement de la Place de la Concorde et l'édification de l'arc de Triomphe avec vue sur les Champs-Elysées
A suite of six Louis XVI giltwood chairs, stamped by Georges Jacob, the sculpture by Jean-Baptiste Rode, delivered for the Salon of the Count of Artois at the Bagatelle Pavilion in 1778
the back carved with a double frieze of water leaves and laurel, the waist slightly beveled, resting on tapered fluted legs surmounted by water leaves covered with yellow silk (worn), stamped G.IACOB, Bagatelle stamp, B crowned and the stamp of the Count of Artois, AT / GM; (gilding and reinforcing brackets)
(6)
Height. 35 1/2 in, width. 19 3/4 in
-----------------------------------------------------------------
Suite de six chaises, à dossier en éventail cintré, en noyer doré d'époque Louis XVI, la menuiserie par Georges Jacob, la sculpture par Jean-Baptiste Rode, livrées pour le Salon du comte d'Artois au pavillon de Bagatelle en 1778
le dossier sculpté d’une double frise de feuilles d’eau et laurier, la ceinture arrondie en léger biseau, reposant sur des pieds fuselés à cannelures surmontés de feuilles d’eau, recouverte de soie jaune (usée), estampillée G.IACOB, marque au feu de Bagatelle, B couronné et la marque au feu du comte d'Artois, AT / GM ; (reprise à la dorure et équerres de renfort)
(6)
Haut. 90 cm, larg. 50 cm
Provenance
Six des seize chaises livrées pour le salon du comte d’Artois au pavillon de Bagatelle en 1778 ;
Collection du comte de la comtesse Greffuhle, Paris puis par descendance vente Me Binoche, le 6 mars 2000, lot 89 ;
Galerie Maurice Segoura, Paris.
Literature
Hector Le Fuel, Georges Jacob, Paris, 1923
Leben, « An armchair and folding screen for the comte d’Artois at Bagatelle” in Furniture History Society, vol. XLIII, 2007
Georges Jacob, menuisier, reçu maître en 1765.
Catalogue note
Bagatelle
Bagatelle was the result of a daring gamble by the Comte d'Artois, brother of King Louis XVI, and Queen Marie-Antoinette to create a haven dedicated to the good life in record time. Ideally located, not far from the prince's Parisian residence at Le Temple, close to the hunting grounds of the Bois de Boulogne and the Plaine des Sablons, where he enjoyed horse racing, and at a respectable distance from Versailles and its pleasures, the former Bagatelle building was to house the new pleasure residence conceived by the Count of Artois, after a colossal amount of work. The Bagatelle pavilion was built in less than nine weeks under the supervision of the architect Belanger, an ambassador for the neo-classical avant-garde. Work began in September 1777 and was completed at the end of November of the same year. Work on the gardens and interior decoration continued until 1781.
Consisting of the pavilion itself and another building housing the outbuildings, the architecture designed by Belanger offered practical and clever solutions: like a Palladian villa in the shape of a temple, framed by the outbuildings, Bagatelle is made up of buildings and courtyards leading to the prince's pavilion, isolated and dominating the site.
Through this project, the king's youngest brother affirmed his taste for a neoclassical style without austerity, combining a warrior repertoire with extreme refinement, as seen in the furnishings and interior decoration.
In an Almanach Parisien en faveur des Etrangers et des Voyageurs written by the widow Duchesne and published in Paris in 1788, the beauty of the premises is highlighted: "the round hall, the top of which is finished in a cupola. It is decorated with mirrors and arabesques. The richness of the furnishings matches the magnificence of the decor".
Chairs in a new form
This suite of chairs bears the fire marks of the Count of Artois' furniture repository, AT/GM, as well as the B surmounted by a crown for Bagatelle, which makes it possible to establish its original purpose. The increasing number of residences of the King's brother led to the creation of a furniture depository, and the different marks used to distinguish its place of origin. As with the Temple (crowned T), Bagatelle received a B surmounted by a crown. All the chairs ordered by Mr Jubault, one of the Count d'Artois's first valets de chambre, who was responsible for the furniture storage at Bagatelle in 1778, were made by the prince's regular joiners, Jean-Baptiste Boulard and Georges Jacob. Boulard made eight loveseats and a screen, while Jacob supplied eight armchairs, a four-leaf screen and sixteen chairs for the Bagatelle salon, six of which make up this lot.
As with the armchair, the backrest is moulded and worked so that the series of chairs can be seen from the rear, suggesting a circular arrangement in the room, while the slightly curved shape of the backrest harmoniously follows the circular outline of the walls when they are not in use. Ulrich Leben's publication (op. cit.) on the armchair belonging to this series and kept at Waddesdon Manor provides information on the various stages of production, which should be extended to those of the chairs. The wood leaves Georges Jacob's workshop to be carved by Jean-Baptiste-Simon Rode before being gilded by Daniel Aubert and then upholstered by the upholsterer Nau in English green Italian velvet.
Described after the armchairs in Jacob's memoir, Seize chaises, of the same shape as the armchairs above (i.e. new); curved in plan and elevation; the legs cormiered and the backs débardillés; at 30 livres the one by the sculptor Rode specifies the description in minute detail.
According to Ulrich Leben, in addition to the armchair and four-leaf folding screen from Waddesdon and the series of six chairs from the Greffuhle collection, there is another suite of six chairs in a private collection.
This new type of chair certainly served as a model for the series of sixteen chairs in the Wrightsman collection (see F. J. B. Watson, The Wrightsman collection, vol. 1, no. 49, p. 71). The use of mahogany, the reference to Jansen and the use of old gold embossed velvet suggest that the six Greffuhle chairs were redesigned by this major interior design house in the 1950s.
-----------------------------------------------------------------------------------------------
Bagatelle
Né d'un pari très audacieux entre le comte d'Artois, frère du roi Louis XVI et la reine Marie-Antoinette, celui de créer en un temps record un havre dédié à la douceur de vivre. Idéalement situé, non loin de la résidence parisienne du prince au Temple, à proximité du territoire de chasse du bois de Boulogne, de la plaine des Sablons où il s'adonne aux courses de chevaux, à distance respectable de Versailles et de ses plaisirs, l'ancienne bâtisse de Bagatelle permettra d'abriter après des travaux colossaux cette nouvelle résidence d'agrément imaginée par le comte d'Artois. Le pavillon de Bagatelle fut réalisé en moins de neuf semaines sous la supervision de l'architecte Belanger ambassadeur de l'avant garde néo-classique. Les travaux débutèrent en septembre 1777 et se terminèrent à la fin de mois de novembre de la même année. Les aménagements des jardins et de la décoration intérieure se prolongèrent jusqu'en 1781.
Constitué du pavillon proprement dit et d'un autre bâtiment regroupant les communs,
A suite of six Louis XVI giltwood chairs, stamped by Georges Jacob, the sculpture by Jean-Baptiste Rode, delivered for the Salon of the Count of Artois at the Bagatelle Pavilion in 1778
the back carved with a double frieze of water leaves and laurel, the waist slightly beveled, resting on tapered fluted legs surmounted by water leaves covered with yellow silk (worn), stamped G.IACOB, Bagatelle stamp, B crowned and the stamp of the Count of Artois, AT / GM; (gilding and reinforcing brackets)
(6)
Height. 35 1/2 in, width. 19 3/4 in
-----------------------------------------------------------------
Suite de six chaises, à dossier en éventail cintré, en noyer doré d'époque Louis XVI, la menuiserie par Georges Jacob, la sculpture par Jean-Baptiste Rode, livrées pour le Salon du comte d'Artois au pavillon de Bagatelle en 1778
le dossier sculpté d’une double frise de feuilles d’eau et laurier, la ceinture arrondie en léger biseau, reposant sur des pieds fuselés à cannelures surmontés de feuilles d’eau, recouverte de soie jaune (usée), estampillée G.IACOB, marque au feu de Bagatelle, B couronné et la marque au feu du comte d'Artois, AT / GM ; (reprise à la dorure et équerres de renfort)
(6)
Haut. 90 cm, larg. 50 cm
Provenance
Six des seize chaises livrées pour le salon du comte d’Artois au pavillon de Bagatelle en 1778 ;
Collection du comte de la comtesse Greffuhle, Paris puis par descendance vente Me Binoche, le 6 mars 2000, lot 89 ;
Galerie Maurice Segoura, Paris.
Literature
Hector Le Fuel, Georges Jacob, Paris, 1923
Leben, « An armchair and folding screen for the comte d’Artois at Bagatelle” in Furniture History Society, vol. XLIII, 2007
Georges Jacob, menuisier, reçu maître en 1765.
Catalogue note
Bagatelle
Bagatelle was the result of a daring gamble by the Comte d'Artois, brother of King Louis XVI, and Queen Marie-Antoinette to create a haven dedicated to the good life in record time. Ideally located, not far from the prince's Parisian residence at Le Temple, close to the hunting grounds of the Bois de Boulogne and the Plaine des Sablons, where he enjoyed horse racing, and at a respectable distance from Versailles and its pleasures, the former Bagatelle building was to house the new pleasure residence conceived by the Count of Artois, after a colossal amount of work. The Bagatelle pavilion was built in less than nine weeks under the supervision of the architect Belanger, an ambassador for the neo-classical avant-garde. Work began in September 1777 and was completed at the end of November of the same year. Work on the gardens and interior decoration continued until 1781.
Consisting of the pavilion itself and another building housing the outbuildings, the architecture designed by Belanger offered practical and clever solutions: like a Palladian villa in the shape of a temple, framed by the outbuildings, Bagatelle is made up of buildings and courtyards leading to the prince's pavilion, isolated and dominating the site.
Through this project, the king's youngest brother affirmed his taste for a neoclassical style without austerity, combining a warrior repertoire with extreme refinement, as seen in the furnishings and interior decoration.
In an Almanach Parisien en faveur des Etrangers et des Voyageurs written by the widow Duchesne and published in Paris in 1788, the beauty of the premises is highlighted: "the round hall, the top of which is finished in a cupola. It is decorated with mirrors and arabesques. The richness of the furnishings matches the magnificence of the decor".
Chairs in a new form
This suite of chairs bears the fire marks of the Count of Artois' furniture repository, AT/GM, as well as the B surmounted by a crown for Bagatelle, which makes it possible to establish its original purpose. The increasing number of residences of the King's brother led to the creation of a furniture depository, and the different marks used to distinguish its place of origin. As with the Temple (crowned T), Bagatelle received a B surmounted by a crown. All the chairs ordered by Mr Jubault, one of the Count d'Artois's first valets de chambre, who was responsible for the furniture storage at Bagatelle in 1778, were made by the prince's regular joiners, Jean-Baptiste Boulard and Georges Jacob. Boulard made eight loveseats and a screen, while Jacob supplied eight armchairs, a four-leaf screen and sixteen chairs for the Bagatelle salon, six of which make up this lot.
As with the armchair, the backrest is moulded and worked so that the series of chairs can be seen from the rear, suggesting a circular arrangement in the room, while the slightly curved shape of the backrest harmoniously follows the circular outline of the walls when they are not in use. Ulrich Leben's publication (op. cit.) on the armchair belonging to this series and kept at Waddesdon Manor provides information on the various stages of production, which should be extended to those of the chairs. The wood leaves Georges Jacob's workshop to be carved by Jean-Baptiste-Simon Rode before being gilded by Daniel Aubert and then upholstered by the upholsterer Nau in English green Italian velvet.
Described after the armchairs in Jacob's memoir, Seize chaises, of the same shape as the armchairs above (i.e. new); curved in plan and elevation; the legs cormiered and the backs débardillés; at 30 livres the one by the sculptor Rode specifies the description in minute detail.
According to Ulrich Leben, in addition to the armchair and four-leaf folding screen from Waddesdon and the series of six chairs from the Greffuhle collection, there is another suite of six chairs in a private collection.
This new type of chair certainly served as a model for the series of sixteen chairs in the Wrightsman collection (see F. J. B. Watson, The Wrightsman collection, vol. 1, no. 49, p. 71). The use of mahogany, the reference to Jansen and the use of old gold embossed velvet suggest that the six Greffuhle chairs were redesigned by this major interior design house in the 1950s.
-----------------------------------------------------------------------------------------------
Bagatelle
Né d'un pari très audacieux entre le comte d'Artois, frère du roi Louis XVI et la reine Marie-Antoinette, celui de créer en un temps record un havre dédié à la douceur de vivre. Idéalement situé, non loin de la résidence parisienne du prince au Temple, à proximité du territoire de chasse du bois de Boulogne, de la plaine des Sablons où il s'adonne aux courses de chevaux, à distance respectable de Versailles et de ses plaisirs, l'ancienne bâtisse de Bagatelle permettra d'abriter après des travaux colossaux cette nouvelle résidence d'agrément imaginée par le comte d'Artois. Le pavillon de Bagatelle fut réalisé en moins de neuf semaines sous la supervision de l'architecte Belanger ambassadeur de l'avant garde néo-classique. Les travaux débutèrent en septembre 1777 et se terminèrent à la fin de mois de novembre de la même année. Les aménagements des jardins et de la décoration intérieure se prolongèrent jusqu'en 1781.
Constitué du pavillon proprement dit et d'un autre bâtiment regroupant les communs,
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Project for the Place de la Concorde and for the Arc de Triomphe, looking towards the Champs-Elysées | Projet pour l'aménagement de la Place de la Concorde et l'édification de l'arc de Triomphe avec vue sur les Champs-Elysées
A suite of six Louis XVI giltwood chairs, stamped by Georges Jacob, the sculpture by Jean-Baptiste Rode, delivered for the Salon of the Count of Artois at the Bagatelle Pavilion in 1778
the back carved with a double frieze of water leaves and laurel, the waist slightly beveled, resting on tapered fluted legs surmounted by water leaves covered with yellow silk (worn), stamped G.IACOB, Bagatelle stamp, B crowned and the stamp of the Count of Artois, AT / GM; (gilding and reinforcing brackets)
(6)
Height. 35 1/2 in, width. 19 3/4 in
-----------------------------------------------------------------
Suite de six chaises, à dossier en éventail cintré, en noyer doré d'époque Louis XVI, la menuiserie par Georges Jacob, la sculpture par Jean-Baptiste Rode, livrées pour le Salon du comte d'Artois au pavillon de Bagatelle en 1778
le dossier sculpté d’une double frise de feuilles d’eau et laurier, la ceinture arrondie en léger biseau, reposant sur des pieds fuselés à cannelures surmontés de feuilles d’eau, recouverte de soie jaune (usée), estampillée G.IACOB, marque au feu de Bagatelle, B couronné et la marque au feu du comte d'Artois, AT / GM ; (reprise à la dorure et équerres de renfort)
(6)
Haut. 90 cm, larg. 50 cm
Provenance
Six des seize chaises livrées pour le salon du comte d’Artois au pavillon de Bagatelle en 1778 ;
Collection du comte de la comtesse Greffuhle, Paris puis par descendance vente Me Binoche, le 6 mars 2000, lot 89 ;
Galerie Maurice Segoura, Paris.
Literature
Hector Le Fuel, Georges Jacob, Paris, 1923
Leben, « An armchair and folding screen for the comte d’Artois at Bagatelle” in Furniture History Society, vol. XLIII, 2007
Georges Jacob, menuisier, reçu maître en 1765.
Catalogue note
Bagatelle
Bagatelle was the result of a daring gamble by the Comte d'Artois, brother of King Louis XVI, and Queen Marie-Antoinette to create a haven dedicated to the good life in record time. Ideally located, not far from the prince's Parisian residence at Le Temple, close to the hunting grounds of the Bois de Boulogne and the Plaine des Sablons, where he enjoyed horse racing, and at a respectable distance from Versailles and its pleasures, the former Bagatelle building was to house the new pleasure residence conceived by the Count of Artois, after a colossal amount of work. The Bagatelle pavilion was built in less than nine weeks under the supervision of the architect Belanger, an ambassador for the neo-classical avant-garde. Work began in September 1777 and was completed at the end of November of the same year. Work on the gardens and interior decoration continued until 1781.
Consisting of the pavilion itself and another building housing the outbuildings, the architecture designed by Belanger offered practical and clever solutions: like a Palladian villa in the shape of a temple, framed by the outbuildings, Bagatelle is made up of buildings and courtyards leading to the prince's pavilion, isolated and dominating the site.
Through this project, the king's youngest brother affirmed his taste for a neoclassical style without austerity, combining a warrior repertoire with extreme refinement, as seen in the furnishings and interior decoration.
In an Almanach Parisien en faveur des Etrangers et des Voyageurs written by the widow Duchesne and published in Paris in 1788, the beauty of the premises is highlighted: "the round hall, the top of which is finished in a cupola. It is decorated with mirrors and arabesques. The richness of the furnishings matches the magnificence of the decor".
Chairs in a new form
This suite of chairs bears the fire marks of the Count of Artois' furniture repository, AT/GM, as well as the B surmounted by a crown for Bagatelle, which makes it possible to establish its original purpose. The increasing number of residences of the King's brother led to the creation of a furniture depository, and the different marks used to distinguish its place of origin. As with the Temple (crowned T), Bagatelle received a B surmounted by a crown. All the chairs ordered by Mr Jubault, one of the Count d'Artois's first valets de chambre, who was responsible for the furniture storage at Bagatelle in 1778, were made by the prince's regular joiners, Jean-Baptiste Boulard and Georges Jacob. Boulard made eight loveseats and a screen, while Jacob supplied eight armchairs, a four-leaf screen and sixteen chairs for the Bagatelle salon, six of which make up this lot.
As with the armchair, the backrest is moulded and worked so that the series of chairs can be seen from the rear, suggesting a circular arrangement in the room, while the slightly curved shape of the backrest harmoniously follows the circular outline of the walls when they are not in use. Ulrich Leben's publication (op. cit.) on the armchair belonging to this series and kept at Waddesdon Manor provides information on the various stages of production, which should be extended to those of the chairs. The wood leaves Georges Jacob's workshop to be carved by Jean-Baptiste-Simon Rode before being gilded by Daniel Aubert and then upholstered by the upholsterer Nau in English green Italian velvet.
Described after the armchairs in Jacob's memoir, Seize chaises, of the same shape as the armchairs above (i.e. new); curved in plan and elevation; the legs cormiered and the backs débardillés; at 30 livres the one by the sculptor Rode specifies the description in minute detail.
According to Ulrich Leben, in addition to the armchair and four-leaf folding screen from Waddesdon and the series of six chairs from the Greffuhle collection, there is another suite of six chairs in a private collection.
This new type of chair certainly served as a model for the series of sixteen chairs in the Wrightsman collection (see F. J. B. Watson, The Wrightsman collection, vol. 1, no. 49, p. 71). The use of mahogany, the reference to Jansen and the use of old gold embossed velvet suggest that the six Greffuhle chairs were redesigned by this major interior design house in the 1950s.
-----------------------------------------------------------------------------------------------
Bagatelle
Né d'un pari très audacieux entre le comte d'Artois, frère du roi Louis XVI et la reine Marie-Antoinette, celui de créer en un temps record un havre dédié à la douceur de vivre. Idéalement situé, non loin de la résidence parisienne du prince au Temple, à proximité du territoire de chasse du bois de Boulogne, de la plaine des Sablons où il s'adonne aux courses de chevaux, à distance respectable de Versailles et de ses plaisirs, l'ancienne bâtisse de Bagatelle permettra d'abriter après des travaux colossaux cette nouvelle résidence d'agrément imaginée par le comte d'Artois. Le pavillon de Bagatelle fut réalisé en moins de neuf semaines sous la supervision de l'architecte Belanger ambassadeur de l'avant garde néo-classique. Les travaux débutèrent en septembre 1777 et se terminèrent à la fin de mois de novembre de la même année. Les aménagements des jardins et de la décoration intérieure se prolongèrent jusqu'en 1781.
Constitué du pavillon proprement dit et d'un autre bâtiment regroupant les communs,
A suite of six Louis XVI giltwood chairs, stamped by Georges Jacob, the sculpture by Jean-Baptiste Rode, delivered for the Salon of the Count of Artois at the Bagatelle Pavilion in 1778
the back carved with a double frieze of water leaves and laurel, the waist slightly beveled, resting on tapered fluted legs surmounted by water leaves covered with yellow silk (worn), stamped G.IACOB, Bagatelle stamp, B crowned and the stamp of the Count of Artois, AT / GM; (gilding and reinforcing brackets)
(6)
Height. 35 1/2 in, width. 19 3/4 in
-----------------------------------------------------------------
Suite de six chaises, à dossier en éventail cintré, en noyer doré d'époque Louis XVI, la menuiserie par Georges Jacob, la sculpture par Jean-Baptiste Rode, livrées pour le Salon du comte d'Artois au pavillon de Bagatelle en 1778
le dossier sculpté d’une double frise de feuilles d’eau et laurier, la ceinture arrondie en léger biseau, reposant sur des pieds fuselés à cannelures surmontés de feuilles d’eau, recouverte de soie jaune (usée), estampillée G.IACOB, marque au feu de Bagatelle, B couronné et la marque au feu du comte d'Artois, AT / GM ; (reprise à la dorure et équerres de renfort)
(6)
Haut. 90 cm, larg. 50 cm
Provenance
Six des seize chaises livrées pour le salon du comte d’Artois au pavillon de Bagatelle en 1778 ;
Collection du comte de la comtesse Greffuhle, Paris puis par descendance vente Me Binoche, le 6 mars 2000, lot 89 ;
Galerie Maurice Segoura, Paris.
Literature
Hector Le Fuel, Georges Jacob, Paris, 1923
Leben, « An armchair and folding screen for the comte d’Artois at Bagatelle” in Furniture History Society, vol. XLIII, 2007
Georges Jacob, menuisier, reçu maître en 1765.
Catalogue note
Bagatelle
Bagatelle was the result of a daring gamble by the Comte d'Artois, brother of King Louis XVI, and Queen Marie-Antoinette to create a haven dedicated to the good life in record time. Ideally located, not far from the prince's Parisian residence at Le Temple, close to the hunting grounds of the Bois de Boulogne and the Plaine des Sablons, where he enjoyed horse racing, and at a respectable distance from Versailles and its pleasures, the former Bagatelle building was to house the new pleasure residence conceived by the Count of Artois, after a colossal amount of work. The Bagatelle pavilion was built in less than nine weeks under the supervision of the architect Belanger, an ambassador for the neo-classical avant-garde. Work began in September 1777 and was completed at the end of November of the same year. Work on the gardens and interior decoration continued until 1781.
Consisting of the pavilion itself and another building housing the outbuildings, the architecture designed by Belanger offered practical and clever solutions: like a Palladian villa in the shape of a temple, framed by the outbuildings, Bagatelle is made up of buildings and courtyards leading to the prince's pavilion, isolated and dominating the site.
Through this project, the king's youngest brother affirmed his taste for a neoclassical style without austerity, combining a warrior repertoire with extreme refinement, as seen in the furnishings and interior decoration.
In an Almanach Parisien en faveur des Etrangers et des Voyageurs written by the widow Duchesne and published in Paris in 1788, the beauty of the premises is highlighted: "the round hall, the top of which is finished in a cupola. It is decorated with mirrors and arabesques. The richness of the furnishings matches the magnificence of the decor".
Chairs in a new form
This suite of chairs bears the fire marks of the Count of Artois' furniture repository, AT/GM, as well as the B surmounted by a crown for Bagatelle, which makes it possible to establish its original purpose. The increasing number of residences of the King's brother led to the creation of a furniture depository, and the different marks used to distinguish its place of origin. As with the Temple (crowned T), Bagatelle received a B surmounted by a crown. All the chairs ordered by Mr Jubault, one of the Count d'Artois's first valets de chambre, who was responsible for the furniture storage at Bagatelle in 1778, were made by the prince's regular joiners, Jean-Baptiste Boulard and Georges Jacob. Boulard made eight loveseats and a screen, while Jacob supplied eight armchairs, a four-leaf screen and sixteen chairs for the Bagatelle salon, six of which make up this lot.
As with the armchair, the backrest is moulded and worked so that the series of chairs can be seen from the rear, suggesting a circular arrangement in the room, while the slightly curved shape of the backrest harmoniously follows the circular outline of the walls when they are not in use. Ulrich Leben's publication (op. cit.) on the armchair belonging to this series and kept at Waddesdon Manor provides information on the various stages of production, which should be extended to those of the chairs. The wood leaves Georges Jacob's workshop to be carved by Jean-Baptiste-Simon Rode before being gilded by Daniel Aubert and then upholstered by the upholsterer Nau in English green Italian velvet.
Described after the armchairs in Jacob's memoir, Seize chaises, of the same shape as the armchairs above (i.e. new); curved in plan and elevation; the legs cormiered and the backs débardillés; at 30 livres the one by the sculptor Rode specifies the description in minute detail.
According to Ulrich Leben, in addition to the armchair and four-leaf folding screen from Waddesdon and the series of six chairs from the Greffuhle collection, there is another suite of six chairs in a private collection.
This new type of chair certainly served as a model for the series of sixteen chairs in the Wrightsman collection (see F. J. B. Watson, The Wrightsman collection, vol. 1, no. 49, p. 71). The use of mahogany, the reference to Jansen and the use of old gold embossed velvet suggest that the six Greffuhle chairs were redesigned by this major interior design house in the 1950s.
-----------------------------------------------------------------------------------------------
Bagatelle
Né d'un pari très audacieux entre le comte d'Artois, frère du roi Louis XVI et la reine Marie-Antoinette, celui de créer en un temps record un havre dédié à la douceur de vivre. Idéalement situé, non loin de la résidence parisienne du prince au Temple, à proximité du territoire de chasse du bois de Boulogne, de la plaine des Sablons où il s'adonne aux courses de chevaux, à distance respectable de Versailles et de ses plaisirs, l'ancienne bâtisse de Bagatelle permettra d'abriter après des travaux colossaux cette nouvelle résidence d'agrément imaginée par le comte d'Artois. Le pavillon de Bagatelle fut réalisé en moins de neuf semaines sous la supervision de l'architecte Belanger ambassadeur de l'avant garde néo-classique. Les travaux débutèrent en septembre 1777 et se terminèrent à la fin de mois de novembre de la même année. Les aménagements des jardins et de la décoration intérieure se prolongèrent jusqu'en 1781.
Constitué du pavillon proprement dit et d'un autre bâtiment regroupant les communs,
Collection Hubert Guerrand-Hermès, Vente du Soir
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Saint-Honoré
Paris
France
75008
United Kingdom
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