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Lot Essay
Georges Jacob, maître in 1765.
A TAPESTRY SUITE FOR THE ROTHSCHILDS, LOTS 119-121
Georges Jacob executed a number of distinguished chairs of similar form and with related carving to the suite in this lot, all now in important collections. Although each model possesses different and sometimes more elaborately carved motifs, these chairs share certain elements of design, such as the rectangular padded backs à la reine, bowed seats, carved acanthus at the base of the arm supports, guilloches, leaf-tips, rosettes enclosed in square panels at the head of the legs, and legs carved with long leaves and stop-fluting. Among this group is a set of six fauteuils in the British Royal Collection (RCIN 2537); a fauteuil made for the grand salon des jeux at Saint Cloud, later in the collection of J. Pierpont Morgan and now preserved in the Metropolitan Museum of Art, New York (inv. no. 07.225.107); and a suite in the Wallace Collection, which is upholstered in Beauvais tapestry almost identical to the one covering this set, see F.J.B. Watson, The Wallace Collection Catalogue of Furniture, London, 1956, p. 103, nos. F193-203, plates 29 and 33.
The most famous and the most prolific of all eighteenth-century French chair makers, Georges Jacob (1739-18014) produced an incalculable quantity of chairs of all types and styles from the reign of Louis XV until the Consulat. From 1773 until the revolution, Georges Jacob worked continuously for the royal family, furnishing the main royal residences including Versailles and undertaking many commissions for members of the royal court. Although Jacob was particularly concerned with detail and made sure that each of his sets remained unique, he did reuse certain motifs, such as the lyre form, and adapted them to new creations. At the end of the Ancien Régime he conceived furniture in solid mahogany in the Etruscan manner based on designs by Jean-Démosthène Dugourc, see N. de Reyniès, Le Mobilier Domestique, Paris, 1987, vol. I, p. 77, as illustrated by the abovementioned single chair sold in these rooms in 2002. He retired in 1796, leaving his five sons to continue his business, which they did until 1813 when the firm, by then called Jacob-Desmalter & Co., went into administration.
A TAPESTRY SUITE FOR THE ROTHSCHILDS, LOTS 119-121
Georges Jacob executed a number of distinguished chairs of similar form and with related carving to the suite in this lot, all now in important collections. Although each model possesses different and sometimes more elaborately carved motifs, these chairs share certain elements of design, such as the rectangular padded backs à la reine, bowed seats, carved acanthus at the base of the arm supports, guilloches, leaf-tips, rosettes enclosed in square panels at the head of the legs, and legs carved with long leaves and stop-fluting. Among this group is a set of six fauteuils in the British Royal Collection (RCIN 2537); a fauteuil made for the grand salon des jeux at Saint Cloud, later in the collection of J. Pierpont Morgan and now preserved in the Metropolitan Museum of Art, New York (inv. no. 07.225.107); and a suite in the Wallace Collection, which is upholstered in Beauvais tapestry almost identical to the one covering this set, see F.J.B. Watson, The Wallace Collection Catalogue of Furniture, London, 1956, p. 103, nos. F193-203, plates 29 and 33.
The most famous and the most prolific of all eighteenth-century French chair makers, Georges Jacob (1739-18014) produced an incalculable quantity of chairs of all types and styles from the reign of Louis XV until the Consulat. From 1773 until the revolution, Georges Jacob worked continuously for the royal family, furnishing the main royal residences including Versailles and undertaking many commissions for members of the royal court. Although Jacob was particularly concerned with detail and made sure that each of his sets remained unique, he did reuse certain motifs, such as the lyre form, and adapted them to new creations. At the end of the Ancien Régime he conceived furniture in solid mahogany in the Etruscan manner based on designs by Jean-Démosthène Dugourc, see N. de Reyniès, Le Mobilier Domestique, Paris, 1987, vol. I, p. 77, as illustrated by the abovementioned single chair sold in these rooms in 2002. He retired in 1796, leaving his five sons to continue his business, which they did until 1813 when the firm, by then called Jacob-Desmalter & Co., went into administration.