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Tue 09 Jul

LOUIS XV PERIOD BROKEN DUCHESSE WITH EARS Attributed to Jean-Baptiste I Tilliard Molded and carved beechwood, decorated with rocaille cabochons, rosettes and foliate scrolls, cambered legs surmounted by a fan and terminating in a foliate scroll, silk damask upholstery with polychrome floral decoration on a cream background;minor accidents. Dimensions bergère : H.:104 cm (41 in.)W.:75 cm (29 ½ in.) Toe dimensions: H.:64 cm (25 in.) l.:71 cm (28 in.) P. 97 cm (38 in.) A Louis XV carved beechwood duchesse brisee a oreilles, attributed to Jean-Baptiste I Tilliard This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. Although unstamped, this remarkable duchesse brisée à oreilles is typical of the production of Jean Baptiste I Tilliard (1686-1766), one of the most important Parisian joiners active in the first half of the 18th century. A broken duchesse identical (cfr. Fig.1) to ours and stamped by Tilliard, sold at Christie's Paris, April 13, 2017, lot 139 (€ 18,750). The carved heart motif inscribed in a cartouche that adorns the belt and back of our duchesse could be Tilliard's signature; it is found with minute variations on a large number of seats executed by this famous joiner such as: - A pair of armchairs sold at Christie's Paris, December 19, 2007, lot 531. - A pair of attributed armchairs sold at Christie's London, October 24, 2013, lot 700. - A suite of four fauteuils à la reine, from the former Elie and Inna Nahmias collection, sold at Christie's Paris, November 6, 2014, lot 227. - A bergère sold at Christie's Paris, April 25, 2018, lot 65. - A pair of frame armchairs sold in Paris at Maître Ader, April 2, 1974 and illustrated in G.B.Pallot, L'Art du Siège au XVIIIe siècle, A.C.R. Gismondi Editeurs, 1987, p.139. The upper part of the legs is adorned with a fan motif, another of Tilliard's favorite designs, found for example on a pair of fauteuils à la reine la reine sold at Christie's Paris, November 6, 2015, lot 845, on a bergère from the former Fradier collection and illustrated in G.B.Pallot, L'Art du Siège au XVIIIe siècle, A.C.R. Gismondi Editeurs, 1987, p.137 or on a bergère kept at the Musée des Arts Décoratifs and illustrated in G.Janneau, Les Sièges, Paris, 1993, fig. 175.

Estim. 7 000 - 10 000 EUR

Tue 09 Jul

PAIR OF LOUIS XV PERIOD "À LA REINE" ARMCHAIRS Carved and gilded wood, the backrest and waistband decorated with asymmetrical rocaille cartouches amid foliate scrolls, the shoulders with foliate motifs, the inverted console legs surmounted by a foliate cabochon, upholstered in 18th-century Aubusson tapestry with polychrome decoration of poppies on a blue background, label numbered "357/46". under the belt of one of the two, "357" for the other H.:94,5 cm (37 ¼ in.) l.:71 cm (28 in.) A pair of Louis XV giltwood fauteuils a la reine Although unstamped, the overall proportions and ornamental richness of the carvings on this pair of fauteuils à la reine bear witness to the finest 18th-century Parisian joinery. The asymmetrical ornamentation of the belt and back in the purest rocaille spirit is combined with classically-inspired "roll" feet, enabling us to date these chairs to the 1730-1740 period. In particular, their profile refers us to the repertoire of the famous Parisian ornamentalist Nicolas Pineau (1684-1754), a celebrated architect and sculptor who, during the first half of the 18th century, expressed remarkable expertise in the art of ornament, making a major contribution to defining the lines of the Rocaille style. Indeed, our chairs can be traced back to a drawing (cf. fig. 1) by Nicolas Pineau, now in the Musée des Arts décoratifs (Inv. A 4501) and illustrated in B.G.B. Pallot "L'Art du Siège au XVIIIe siècle en France", A.C.R. Gismondi Éditeurs, 1987, p. 121. Last but not least, these armchairs are embellished with a precious 18th-century poppy tapestry characterized by a rare vivacity and freshness of color; a comparable tapestry is found on a sofa attributed to Foliot in the Palazzo del Quirinale in Rome, illustrated in B.G.B. Pallot, "L'Art du Siège au XVIIIe siècle en France", A.C.R. Gismondi Éditeurs, 1987, p. 147, or on a pair of frame armchairs from the former Dassault collection, sold at Artcurial Paris, June 16, 2022, lot 4.

Estim. 20 000 - 30 000 EUR

Tue 09 Jul

PAIR OF LOUIS XVI PERIOD TORCH HOLDERS In the taste of Georges Jacob In carved and gilded wood, the circular top encircled by a frieze of pearls, the baluster shaft topped by rings with a frieze of pearls, gadroons and acanthus leaves, with flutes filleted with foliage, resting on a polygon adorned with foliage supported by a vase flanked by three mermaids, the triangular base with curved sides adorned in the center with a corolla of foliage, one of the two inscribed in ink L. Figini on reverse;restorations H.:161 cm (63 ¼ in.) l.:52 cm (20 ½ in.) A pair of Louis XVI giltwood porte-torcheres, in the taste of Georges Jacob Exceptional in terms of iconography, our pair of torchères stand out for the richness and variety of their ornamentation, as well as the finesse and precision of their carving. Dating from the 1780s, it was probably commissioned by a high-ranking person, a member of the Court or Finance, who was a connoisseur of art and kept abreast of interior design trends. The female figures, in the form of mermaids, are in fact associated with the Turkish fashion that the Count of Artois launched in Paris in the mid-1770s, when he fitted out his first Turkish boudoir in the Palais du Temple in 1776. One of the best-known examples of this fashion is the console table made by Georges Jacob in 1781 for the Comte d'Artois' second Turkish cabinet at the Château de Versailles, featuring mermaids leaning against the top of each of the four legs(1). Georges Jacob used this motif on other pieces of furniture, such as the broken, stamped chaise longue he made around 1780-1785, which came from the Paris antique dealer Seligmann, and later from the collection of Nélie Jacquemart, now in the Musée Jacquemart André(2). It is interesting to note that a mermaid, also very similar to figures found on our torchères, was carved to form one of the armrests on the wax model of a bergère, made around 1780 by Jacques Gondoin (1737-1818), designer for the Garde Meuble de la Couronne, for Marie-Antoinette's seats in the Pavillon de Belvédère in Versailles, now in the Musée du Louvre(3). Two further examples are a Louis XVI-period half-moon console in carved and gilded wood from the former Eugène Kraemer collection(4), which rests on caryatids in terms comparable to our own, and a nightlight from the former Diane de Castellane collection(5), which also features a mermaid leaning against the top of the backrest. Jean-Demosthène Dugourc and the arabesque taste The originality of the decor and the combination of multiple Turkish-style ornaments suggest the work of an ornamentalist. François Joseph Bélanger (1744-1818), first architect to the Comte d'Artois since 1777, or his brother-in-law Jean-Demosthène Dugourc (1749- 1825), appointed in 1780 "cabinet designer to Monsieur, the King's brother", come to mind. For Laborde, a court banker, and for Saintes James, Trésorier de la Marine, two of France's wealthiest private individuals, Dugourc designed pleasure houses and extensive English-style gardens. In 1782, Dugourc published a collection of ornaments under the title Arabesques, a name that came to characterize the ornamental fashion of the early 1780s, featuring female figures terminating in acanthus scrolls, leaning or facing each other on either side of a vase. These motifs invade painted cabinet walls and bronze furnishings(6). Also, on a French-style cabinet decoration project for the Pardo by the same Dugourc, which was never realized, torchieres are depicted on either side of an alcove, the layout of which is reminiscent of our torchieres(7) or that of the torchieres in Princess Kinsky's hôtelparisien on rue Saint Dominique(8). (1) Inv. OA 5234, see Décors, mobilier et objets d'art du Musée du Louvre, de Louis XIV à Marie-Antoinette, Paris, Louvre Éditions, 2014, pp 432-433, cat. 179. (2) Inv. MJAP-M 1445, see B.G.B. Pallot et al, Le Mobilier français du Musée Jacquemart André, Tome 1, Dijon, 2006, pp.182-185. (3) Musée national des châteaux de Versailles et des Trianon, on deposit with the Musée du Louvre, inv. V 6159, see C. Gougeon, Deux exceptionnelles maquettes de meubles en cire provenant du Garde-Meuble de la Couronne, La revue des musées de France. Revue du Louvre, 3, 2014, p.88-93 and in particular fig. 4. (4) Sale Galerie Georges Petit, April 28-29, 1913, no. 168;sale in Paris, Hôtel Drouot, Couturier Nicolay, March 31, 1994;S. de Ricci, Le style Louis XVI, Paris 1913, reproduced p.74. (5) Sotheby's Monaco,

Estim. 30 000 - 50 000 EUR

Thu 11 Jul

Marc GENEIX, born 1975 T-Chair, 2023 Stained oak chair, unique piece, unsigned. Height 84 - Width 37.5 - Depth 45 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. On the other hand, in a paradoxical but assertive way, he is also particularly attached to an expressive form and searches for points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to craftsmanship, through the appropriation of know-how, techniques, materials, etc. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with a bronze handle.

Estim. 700 - 800 EUR

Thu 11 Jul

Marc GENEIX, born 1975 Untitled, Es-tu isocèle? series , 2023 Oak chair, unique piece, unsigned. Height 82 - Width 41 - Depth 43 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. Paradoxically, however, he is also particularly attached to an expressive form, seeking out points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to the crafts, through the appropriation of know-how, techniques, materials and so on. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with a bronze handle.

Estim. 700 - 800 EUR

Thu 11 Jul

Marc GENEIX, born 1975 Untitled, "Es-tu isocèle?" series, 2023 Rocking chair in natural oak, unique piece, unsigned. Height 80 - Width 55 - Depth 41 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. On the other hand, in a paradoxical but assertive way, he is also particularly attached to an expressive form and searches for points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to fine craftsmanship, through the appropriation of know-how, techniques, materials, etc. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with a bronze handle.

Estim. 700 - 800 EUR

Thu 11 Jul

Anouchka POTDEVIN, born 1975 Cage(s), 2024 Indiscreet seat made up of three cage-shaped seats in powder-coated steel. Each in a different size, interlocked one after the other in a continuous movement, to form a black metal case lined with cushions in precious black and gold textiles that evoke feathers and golden reflections on the surface of water. Textiles by Lelièvre Paris and Pierre Frey, handmade. One-of-a-kind piece. Height 220 cm - Diam. large seat 78 cm - Diam. medium seat 72 cm - Diam. small seat 68 cm --- Anouchka POTDEVIN, born in 1975 Anouchka Potdevin combines ingenious recycling and metalwork. Based in the Côtes d'Armor region, on the banks of the Rance river, she immerses herself in nature, which springs to life in her favorite themes. During her apprenticeship as a metalworker, she worked metals to the exacting standards of a compagnonnique company working with Bâtiments de France, such as repairing parts of the Parlement de Bretagne. She now designs acclaimed furniture from scraps and other salvaged materials. For Ar Seiz Avel, she presents her indiscreet, developed in January 2024 and the fruit of research based on the confident seat, an S-shaped double armchair enabling two people to converse without having to turn their heads. It consists of a set of three Cage seats, an emblematic element of his work, of different sizes, nested one after the other in a continuous movement forming a black metal case and upholstered with precious textile cushions. The central island forms a triskel, adding the "indiscreet" to the "confident". No digital intervention was involved in this project, and the entire piece was created by hand. Last but not least, Anouchka Potdevin is working on Ki Dour, a future workplace for engravers, stone sculptors and metalworkers, based on the notion of transmission.

Estim. 8 000 - 12 000 EUR

Sat 13 Jul

Montis Chaplin Chair, by Gerard van den Berg (b. 1947) - Design: 1983 Elegant open frame, and soft comfortable turquoise leather bucket seat. The Montis Chaplin chair was designed by the Dutchman Gerard van den Berg. He also designed the Montis Charly armchair. The Montis Chaplin chair is the dining chair version of the Montis Charly armchair. This world-famous design was conceived by Gerard van den Berg after he sat on a camping chair with a sleeping bag. 97.6 x 58 x 47.5 cm Note: Gerard van den Berg, born in 1947, has been cultivating and refining his creative talents since his formative years. Even during his early education in elementary school, he found himself drawn to the realms of painting and sculpture, laying the foundation for his lifelong dedication to artistic expression. This early exposure to creativity was complemented by a deep-seated technical acumen, nurtured through firsthand experience at his father's furniture company. Drawing from this unique blend of artistic flair and technical expertise, van den Berg approaches his designs with meticulous attention to detail. Prior to putting pen to paper, he methodically evaluates each concept against a backdrop of technical considerations, ensuring a seamless integration of form and function. This harmonious fusion of design and engineering underscores every aspect of his creative process. Until 1990, van den Berg collaborated on numerous projects for Montis, the furniture company he co-founded with his brother. Subsequently, in 1991, he embarked on a new chapter by establishing his own seating furniture company, Label. In addition to his work with Label, van den Berg's design prowess extends to collaborations with renowned brands such as Molteni, Wittmann, Lensvelt, and Design on Stock. Characterized by a synthesis of clean aesthetics and daring material choices, van den Berg's designs exude an effortless elegance. Whether juxtaposing hard metal with soft upholstery or allowing the inherent qualities of materials to take center stage, his creations captivate with their understated sophistication. Throughout his illustrious career, Gerard van den Berg has garnered recognition and accolades, including the prestigious Kho Liang Prize (1984), the Mobilia Innovation Prize (1990), the Interior Architecture Prize (1991), and multiple awards for the best Dutch furniture design (1984 and 1997). These accolades stand as a testament to van den Berg's enduring influence and unwavering commitment to excellence in the field of furniture design.

Estim. 100 - 150 EUR
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