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A SET OF SIX EMPIRE WHITE-PAINTED PARCEL-GILT SIDE CHAIRS
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A SET OF SIX EMPIRE WHITE-PAINTED PARCEL-GILT CHAISES

ATTRIBUTED TO PIERRE-ANTOINE BELLANGE, CIRCA 1810

Details
A SET OF SIX EMPIRE WHITE-PAINTED PARCEL-GILT CHAISES
ATTRIBUTED TO PIERRE-ANTOINE BELLANGE, CIRCA 1810
Covered in blue silk, five with the inventory brand from the Château de Fontainebleau (three fleur-de-lys frame within an oval and surmounted by a crown and 'FON') and stencilled with C2079 and each with individual stencil number C724-C728, two with stencil C726, one with inventory stencil twice, three with stencil TF in monogram, restorations, redecorated
36 in. (92 cm.) high; 19 in. (48 cm.) wide; 20 in. (51 cm.) deep (6)
Provenance
The Château de Fontainbleau, almost certainly commissioned for Napoleon I, subsequently passing to the Crown following the Restauration whence probably removed to the Château de Compiègne.
Literature
S. Cordier, Bellangé, ébénistes, Paris, 2012, p.425/PAB 35.
Special notice

This lot will be removed to an off-site warehouse at the close of business on the day of sale - 2 weeks free storage

Condition report

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Lot Essay

These chairs bear inventory marks for the Château de Fontainbleau and were almost certainly commissioned as part of Napoleon I's restoration of the palace. In Paul Delaroche's famous painting of Napoleon's abdication in March 1814, Napoleon is depicted at the Château de Fontainbleau seated in a gilt chair of exactly this model. Further markings to the chairs suggest that they passed back to the crown following the restoration of the monarchy and may have subsequently been moved to the Château de Compiègne. A closely related suite of stamped seat furniture by Belangé was recorded in the 1832 inventory of the château and remains in the collection there today, see S. Cordier Op. Cit. p. 417/PAB 26.

Pierre-Antoine Bellangé (1758-1827), maître in 1788, was one of the most important fournisseurs to the court of Emperor Napoleon I, supplying important suites of mobilier for many of the Imperial palaces, including Château Saint Cloud and the Tuileries. Following the Restoration of the monarchy demand continued for his stylistically bold work and he was made ébéniste breveté du Garde-Meuble de la Couronne. In 1821 his work was praised for "La qualité, la richesse et la grâce des objets debénisterie" while one of his most important commissions from that period was for the château de Saint-Ouen of for the Comtesse de Cayla, maîtresse en titre of Louis XVIII.

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