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拍品专文
Jean-Baptiste-Claude Sené maître in 1769.
With their distinctive sinuous lion monopodia legs and seated sphinx arm-supports, these chairs reflect the 'antique' influence of the excavations at Pompeii and Herculaneum, as well as Napoleon's Egyptian campaign as popularised by Baron Vivant-Denon. Simultaneous excavations at Pompeii and Herculaneum brought the Roman and Etruscan cultures to the fore of European furniture design and this new vocabulary of ornament was swiftly adopted by ornamenistes such as Charles Percier and Pierre-François-Léonard Fontaine, who issued their Recueil des décorations intérieures in 1801.
The son of the menuisier Claude I Sené, J.B.C.Sené was established in the rue du Cléry at the sign of the Gros Chapelet. In 1785, he was appointed fournisseur du Garde-Meuble de la Couronne alongside Jean-Baptiste Boulard, and he gradually supplanted the latter to become amongst the most celebrated menuisiers of the Louis XVI period. Royal patronage dominated the vast majority of his mature career, and he was responsible for supplying seat-furniture to the King and Queen at Saint-Cloud, Versailles, Compiègne and Fontainebleau. Sené worked as an administrator for the new republican government, as such, he was also able to continue producing furniture after the French Revolution, unlike many of his contemporaries.
Sené was undoubtedly influenced by the work of Georges Jacob, particularly in his use of mahogany, and they are know to have collaborated on a number of commissions for the Garde-Meuble and Menus-Plaisirs. Three consecutive pairs of identical bergeres stamped by Sené and Jacob D. R. Meslee (the stamp used during the collaboration of François-Honoré-Georges Jacob and Georges Jacob between 1803-1813) formerly in the collection of Baron Alexis de Redé were sold, Sotheby's, New York: 'The Collection of Gianni Versace', 5-7 April 2001, lots 47, 48 and 49.
With their distinctive sinuous lion monopodia legs and seated sphinx arm-supports, these chairs reflect the 'antique' influence of the excavations at Pompeii and Herculaneum, as well as Napoleon's Egyptian campaign as popularised by Baron Vivant-Denon. Simultaneous excavations at Pompeii and Herculaneum brought the Roman and Etruscan cultures to the fore of European furniture design and this new vocabulary of ornament was swiftly adopted by ornamenistes such as Charles Percier and Pierre-François-Léonard Fontaine, who issued their Recueil des décorations intérieures in 1801.
The son of the menuisier Claude I Sené, J.B.C.Sené was established in the rue du Cléry at the sign of the Gros Chapelet. In 1785, he was appointed fournisseur du Garde-Meuble de la Couronne alongside Jean-Baptiste Boulard, and he gradually supplanted the latter to become amongst the most celebrated menuisiers of the Louis XVI period. Royal patronage dominated the vast majority of his mature career, and he was responsible for supplying seat-furniture to the King and Queen at Saint-Cloud, Versailles, Compiègne and Fontainebleau. Sené worked as an administrator for the new republican government, as such, he was also able to continue producing furniture after the French Revolution, unlike many of his contemporaries.
Sené was undoubtedly influenced by the work of Georges Jacob, particularly in his use of mahogany, and they are know to have collaborated on a number of commissions for the Garde-Meuble and Menus-Plaisirs. Three consecutive pairs of identical bergeres stamped by Sené and Jacob D. R. Meslee (the stamp used during the collaboration of François-Honoré-Georges Jacob and Georges Jacob between 1803-1813) formerly in the collection of Baron Alexis de Redé were sold, Sotheby's, New York: 'The Collection of Gianni Versace', 5-7 April 2001, lots 47, 48 and 49.