Georges Jacob, Pair Of Cabriolet Armchairs Stamped From Transition Period Circa 1770

Georges Jacob, Pair of Stamped Cabriolet Armchairs from the Transition Period Circa 1770 Superb Pair of Cabriolet Armchairs in Lacquered, Molded and Carved Wood from the Louis XV Louis XVI Transition Period, Resting on Four Tapered and Fluted Legs. Armchairs with Gray Lacquered Medallion Backs, Blue Highlights, Its Whiplash Armrests, They Are Upholstered with a Pretty Fabric with Floral Decor. Happy Seating. Good Stability. Furniture of Very Fine Quality of Execution, Each Armchair is Stamped by the Famous and Renowned Master Cabinetmaker, Georges JACOB (1739-1814). Georges JACOB (1739-1814) Master on September 4, 1765: He is the most famous and the most creative of all the seat carpenters of the 18th century in France. At the forefront of its wealthy clientele is the royal family. Georges Jacob was born in 1739 in Cheny in the Burgundian region. Son of Etienne Jacob and Françoise Beaujan, labourers, he arrived in Paris at a very young age in 1755 as an apprentice carpenter with Jean-Batipte Lerouge – established on rue de Charenton. He then joined Louis Delanois as a companion, the supplier of Madame du Barry, mistress of Louis XV. Promoter of the neoclassical style in seating, Delanois undoubtedly exerted an influence on Jacob's models. Received master in 1765 thanks to a small gilded wooden seat, Jacob subsequently created his own workshop from scratch. Two years later, he married Jeanne-Germaine Loyer from a family of master embroiderers. Established in his early years on rue de Cléry, his workshops were transported to 1775 rue Meslée where the most favorable period of his career took place and where the largest royal orders were executed. Georges Jacob is an innovator: it is also in the arrangement and decoration of the legs and in the arms of his seats that we find formulas launched if not imagined by him. Many of its seats rest on tapered legs with rough grooves. These feet are connected to the belt by a die or box, decorated with a rosette. In the most luxurious models, ribbons, garlands or foliage are sometimes wrapped around the feet where the grooves are replaced by bundles of arrows. But the great novelty highlighted by the cabinetmaker and exploited almost exclusively by him is that of the console feet, ending at the top with a volute. They usually appear on racket-backed chairs and on swivel office or toilet chairs. He is also the promoter of variously profiled and sculpted baluster-shaped armrest supports. Finally, sculpture plays a leading role in the majority of Jacob's seats, joinery furniture, screens and consoles, often quite abundant. It includes friezes of twisted ribbons, more or less embellished with foliage or pearls, friezes of interlacing, scrolls of foliage, or rows of piastres - particularly on the curved parts of the armrests - rows of pearls, strips of heart, stylized acanthus leaves, or finally straight or twisted flutes. On command seats such as the famous “ear of corn” furniture, a most naturalistic sculpted ornamentation develops for which the most curious want to find the origin in the peasant ancestry of the cabinetmaker. There we find flowers, lilac, lily of the valley, violet and rose, treated with rare attention to detail, and foliage, vine, laurel and oak. The animal kingdom is also present with eagle heads on the backs and armrests of several seats or lion muzzles as on the armchairs of the Marquise de Marboeuf. These sculptures are sometimes entrusted to sculptors like Jean-Baptiste Rode. Gilder painters can also be requested. (Furniture and Cabinetmaker from the 18th century) Work from the Louis XV Louis XVI Transition Period, Circa 1770, 18th Century. Dimensions: Height: 89.5 cm Width: 61 cm Depth: 62 cm Seat Height: 41.5 cm In good condition. We are at your disposal for any additional information. WWW.DANTAN.STORE