Rare pair of gilded wooden chairs with slightly overturned backs carved with arabesques.
The side uprights of the backrests are flared in the shape of a "rython vase" and are decorated with interlacing.
The seat rails are carved with rosettes and palmettes, they rest on saber feet at the back and rolled up consoles at the front.
Good condition, original gilding (wear).
Work attributed to cabinetmaker Pierre Antoine Bellangé *, Paris around 1820.
Height: 92 cm; Width: 45 cm Depth: 45 cm
-Marie-Caroline de Bourbon-Siciles, Duchess of Berry (1798-1870) at the castle of Rosny-sur-Seine;
-Comte Jules Polydore Le Marois (1802-1870), castle of Rosny-sur-Seine;
-Gustave Lebaudy (1827-1889), castle of Rosny-sur-Seine.
- Anonymous sale, Maître Rogeon, Hôtel Drouot, Paris, October 18, 1993
Marie-Caroline de Bourbon, Duchess of Berry, was born in Caserta in Italy on November 5, 1798. Daughter of François I, King of the Two Sicilies and Marie-Clémentine of Austria, daughter of Emperor Leopold II, she came to France to marry Charles Ferdinand d'Artois, Duke of Berry, twenty years older. He died on February 13, 1820, murdered with a stab by a Bonapartist worker, while he was accompanying his wife to her car.
A personality not very attached to the label, loving fashion and practicing sea bathing in summer, she leads a hectic life after the death of her husband. She was arrested by Adolphe Thiers, then Minister of the Interior, after an attempted uprising in Vendée in 1832 where she tried to take power as the mother of the Count of Chambord, legitimist claimant to the throne of France under the name of " Henri V ”.
She is ultimately deported to Palermo. She then moved to Austria where she spent the last years of her life in her Brunnsee castle and died there in 1870. From 1818 to 1830, Marie-Caroline had the Rosny-sur-Seine castle, acquired by her husband, transformed. . Its appointed architect, Froelicher, had the Louis XIII castle built by Sully transformed, rearranged the interior decorations according to the taste of the time and installed a massive library of 8,000 richly bound volumes there.In fine, before following Charle X into his exile , The Duchess of Berry sold her estate to the English banker George Stone in September 1831 for “two million one hundred thousand francs paid in cash.” Throughout her life, the Duchess of Berry was interested in many artistic fields. She was a great patron, encouraging many painters through her personal purchases, promoting literary and musical practice - Rossini and Boieldieu in particular - but she was also known for her kindness and generosity towards the most disadvantaged.
Pierre-Antoine Bellangé was accepted as a master carpenter in 1788 and moved into a workshop located on rue Neuve Saint-Denis, near Porte Saint-Denis in Paris. He began by providing the entourage of power, such as the house of Marshal Berthier, Prince of Neufchâtel, for the furnishing of his mansion on rue Neuve-des-Capucines, in Paris. He was then responsible for providing furniture for some of the Emperor's second homes: Château de Laeken, Château de Saint-Cloud, Château de Meudon and Château de Compiègne. In 1811, he was given a specific order for the royal salon of the King of Rome at the Tuileries Palace.
Under the Restoration, he was granted the title of patented supplier in 1817, which earned him several royal orders such as the seats in the grand salon of the Duchess of Berry, still at the Tuileries Palace. His reputation became international and in 1817 he was commissioned by US President James Monroe for the seats in the main salon of the White House.
In 1820, he joined forces with his son Louis-Alexandre (1796-1861) and gave up his position in 1825 before dying two years later. His brother Louis-François (1759-1827) and his nephew Alexandre (1799-1863) were also renowned cabinet makers from the first half of the 19th century.
Our opinion :
The rare pair of chairs that we present is characteristic of the “Late Empire” style which remained fashionable in Paris until the 1830s, under the aegis of the architects Charles Percier (1764-1838) and Pierre-François Léonard Fontaine (1762 -1853) who worked for the Emperor Napoleon I, then successively for the Kings Louis XVIII, Charles X and Louis-Philippe.
However these ancient reminiscences such as the flared shape of the back uprights which is inspired by Etruscan Rhythmon vases, are tempered by a new wind, with the reuse of slight curves on the back band or of console legs which contrast with the stiffness of the style. empire.
These new forms are characteristic of the manner of Pierre Antoine Bellangé who was one of the greatest rivals of the Jacob workshops.