.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
Jean Avisse, maître in 1745.
This remarkable suite of chairs is typical of the work of the famous carpenter Jean Avisse, with its rich, high-relief ornamentation. Avisse’s chairs are characterized by their ample forms, high backs and subtly curved legs, demonstrating an outstanding sense of design and proportion.
Born in 1723 and related to the Gourdin family - a dynasty of renowned carpenters - Avisse became master in 1745 and moved to rue de Cléry in 1747. He soon started to supply a select clientele of upholstery merchants such as Blin, Bouguereau, Lacoursière, Jalouret, the Lrin family and Pousse. His clientele also included private patrons such as the Marquise de Chabannes, the Comtesse de Fontenay and the Chevalier de Lamotte.
Since sculpture was carried out by seat sculptors - a separate guild from menuisiers’ - Jean Avisse surrounded himself with the best, such as Jean-François Baillard, Claude Vinache and Pierre Rousseau. Bill G. B. Pallot, in his book L'Art du siège au XVIIIe siège en France, Paris, 1987, p. 300, points out that, like Michel Avisse, Jean delegated the carving of his chairs to the talented Nicolas Heurtaut, who distinguished himself by producing "the most abundantly carved works [which] are always masterpieces of execution, with very detailed carving and unusual motifs.”
The 1730s and 1740s were the apogee of rococo, with abundant aquatic ornamental motifs, shells and dragons set against asymmetrical structures, however this period was followed by a more moderate ornamental style. From 1750 onwards, a return to classicism emerged, sometimes radically, with the so-called "Greek style". At the same time, some artists sought to reconcile the two trends in a style known as Transition.
The structure and ornamentation of these superb chaises exemplifies the rocaille symétrisé of circa 1760. These chairs appear to belong to an exceptional ensemble of salon furniture, the elements of which are more or less identified and catalogued. First and foremost is the sofa, considered to be Jean Avisse's masterpiece. It belonged to the Espirito Santo and then Niarchos collections and was displayed in the grand salon of the Hôtel de Chanaleilles (see 'L'hôtel de Chanaleilles', in Connaissance des Arts, November 1960, pp. 83 and 108). It was sold in Paris on 14 June 1955, lot 91. A major milestone of seat furniture, it is illustrated in Pierre Verlet, Les Ebénistes du XVIIIe Siècle Français, Paris, 1963, p. 108, in Bill G.B. Pallot, op. cit, pp. 32-33 and in Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris, 1989, p. 36. Also notable are six nearly identical chairs from the former collection of Baron Lionel Nathan de Rothschild (1808-1879), sold at his mansion at 148 Piccadilly (Sotheby's sale, London, 21 April 1937, lot 302). These chairs appear in the general view of the West Drawing Room, plate XLVIII. They were sold to the merchant Bensimon for 600 guineas.
Also worth mentioning is a pair of stools probably from the collection of the Counts of Münster. (Christie's London sale, 19 May 2021, lot 23). Finally, a pair of armchairs (Elisabeth Lewyt Collection, Sotheby's sale, New York, 23 October 2013, lot 120 then Christie's Paris sale, 6 November 2014, lot 398) bearing the mark 'CHT' corresponding to 14-15 Carlton House Terrace, the London residence of the Earls Lonsdale, acquired in 1837 by William Lowther (1757- 1844), 1st Earl Lonsdale. The furniture in this house is marked 'CHT' followed by a three-digit inventory number [cd1].
This remarkable suite of chairs is typical of the work of the famous carpenter Jean Avisse, with its rich, high-relief ornamentation. Avisse’s chairs are characterized by their ample forms, high backs and subtly curved legs, demonstrating an outstanding sense of design and proportion.
Born in 1723 and related to the Gourdin family - a dynasty of renowned carpenters - Avisse became master in 1745 and moved to rue de Cléry in 1747. He soon started to supply a select clientele of upholstery merchants such as Blin, Bouguereau, Lacoursière, Jalouret, the Lrin family and Pousse. His clientele also included private patrons such as the Marquise de Chabannes, the Comtesse de Fontenay and the Chevalier de Lamotte.
Since sculpture was carried out by seat sculptors - a separate guild from menuisiers’ - Jean Avisse surrounded himself with the best, such as Jean-François Baillard, Claude Vinache and Pierre Rousseau. Bill G. B. Pallot, in his book L'Art du siège au XVIIIe siège en France, Paris, 1987, p. 300, points out that, like Michel Avisse, Jean delegated the carving of his chairs to the talented Nicolas Heurtaut, who distinguished himself by producing "the most abundantly carved works [which] are always masterpieces of execution, with very detailed carving and unusual motifs.”
The 1730s and 1740s were the apogee of rococo, with abundant aquatic ornamental motifs, shells and dragons set against asymmetrical structures, however this period was followed by a more moderate ornamental style. From 1750 onwards, a return to classicism emerged, sometimes radically, with the so-called "Greek style". At the same time, some artists sought to reconcile the two trends in a style known as Transition.
The structure and ornamentation of these superb chaises exemplifies the rocaille symétrisé of circa 1760. These chairs appear to belong to an exceptional ensemble of salon furniture, the elements of which are more or less identified and catalogued. First and foremost is the sofa, considered to be Jean Avisse's masterpiece. It belonged to the Espirito Santo and then Niarchos collections and was displayed in the grand salon of the Hôtel de Chanaleilles (see 'L'hôtel de Chanaleilles', in Connaissance des Arts, November 1960, pp. 83 and 108). It was sold in Paris on 14 June 1955, lot 91. A major milestone of seat furniture, it is illustrated in Pierre Verlet, Les Ebénistes du XVIIIe Siècle Français, Paris, 1963, p. 108, in Bill G.B. Pallot, op. cit, pp. 32-33 and in Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris, 1989, p. 36. Also notable are six nearly identical chairs from the former collection of Baron Lionel Nathan de Rothschild (1808-1879), sold at his mansion at 148 Piccadilly (Sotheby's sale, London, 21 April 1937, lot 302). These chairs appear in the general view of the West Drawing Room, plate XLVIII. They were sold to the merchant Bensimon for 600 guineas.
Also worth mentioning is a pair of stools probably from the collection of the Counts of Münster. (Christie's London sale, 19 May 2021, lot 23). Finally, a pair of armchairs (Elisabeth Lewyt Collection, Sotheby's sale, New York, 23 October 2013, lot 120 then Christie's Paris sale, 6 November 2014, lot 398) bearing the mark 'CHT' corresponding to 14-15 Carlton House Terrace, the London residence of the Earls Lonsdale, acquired in 1837 by William Lowther (1757- 1844), 1st Earl Lonsdale. The furniture in this house is marked 'CHT' followed by a three-digit inventory number [cd1].