Pair of chaises by Jean-René Nadal

Paris, Louis XVI period, circa 1780.
Natural, molded and carved beech (formerly white-painted with traces of the original paint).
STAMP : J.NADAL.LAINE, under the front crosspiece of the two chaises.

This pair of chaises, very powerfully carved in molded beech and formerly painted white, is part of the creations of Jean-René Nadal, a craftsman belonging to one of the most important dynasties of seat carpenters active in Paris in the 18th century. Resolutely in the Louis XVI style, they were probably executed on behalf of a particular patron, and this for an important reason. An unusual phenomenon, it is surprising to note the presence of the stamp J.NADAL.LAINE on each of the two chaises. Indeed, if this pair of chaises had belonged to a set of salon furniture, the carpenter would probably have stamped some of the fauteuils and bergères, the latter being considered the most noble seats.

A sumptuous example of neoclassical art from the last quarter of the 18th century, each chaises is composed of a frame associated with powerful moldings emphasizing the rectilinear path of the convertible backrest. This, slightly inclined, is formed by an upper crossbar with a slightly curved basket handle and made in a fan shape, and punctuated at its ends by two bases of leaves. Two small rectangular "uprights" or "dices" decorated with two grooves supporting the backrest connect the latter to the seat.

These chaises have a belt made up of a large, almost circular seat, slightly flared and with a curved recess on the front. It is punctuated by connecting "dices" flanked by ogee rosettes and placed in the axis of the four tapered, fluted and rudented legs. These sheathed feet are hollowed out with eight grooves, which allows us to date the creation of these seats to the early 1780s. Each of them is surmounted by an imposing and wide plain band punctuated by a quarter-shaped molding. round, and is finished with a short bulb-shaped shoe crowned with a ring. We can notice that the base of the rear feet, to ensure better balance, is significantly offset outwards. This arrangement was adopted by carpenters from the appearance of the convertible which had the effect of bringing the heads of the rear legs closer to the center of the seat, which would have made the seat unstable with almost vertical feet as in the seat "à la reine".

The seats were originally made at the end of the 18th century from wood white-painted. Indeed, traces of the original paint are visible both on certain visible details of the structure but also under the chaises.

JEAN-RENÉ NADAL
The Nadal were among the important Parisian carpenter families of the 18th century who managed to maintain the reputation of their business at the forefront.
Born in 1733, Jean-René Nadal, known as Nadal the Elder [Nadal l'Aîné], is the son of Jean Nadal. He stamped his achievements with his nickname in order to differentiate himself from his brother Jean-Michel, also a carpenter. Master in 1756, he took over his father's workshop on rue de Cléry before founding his own workshop "Au Lion d'argent" in 1765. He distinguished himself in the creation of seats whose work can be placed between the Transition period, of which he seems to be among the promoters, and the Louis XVI style which he successfully translated. Indeed, under the rule of Louis XVI, Nadal executed works for the furniture of the Crown. His talents were also used by the Compte d'Artois, the King's brother, of whom he knew how to make himself appreciated, who asked him for seats in the antique taste and several bed frames, with imperial arches, intended for the Palais du Temple and the castle of Saint-Germain-en-Laye. He ended his activity in 1785 and died five years later.

LITERATURE : Anne Forray-Carlier, Le Mobilier du musée Carnavalet, Dijon, Éditions Faton, 2000 ; Sylvie Legrand-Rossi, Le Mobilier du musée Nissim de Camondo, Dijon, Éditions Faton, 2012.

Very good general condition, normal restorations and maintenance.