Very nice pair of armchairs with flat backs in molded and finely carved beech wood.
Model with slightly violin backs with shoulders ending in ears surmounted by acanthus foliage, the high cross member is strongly arched, it is adorned with a cartridge centered with a heart; the low cross member of the backrest is embellished with a stylized fan-shaped acanthus.
The armrests decorated with shells and acanthus.
The curved front cross member, heavily molded and sculpted with a cartouche centered with a stylized heart; it is framed by two small foliage scrolls.
The front feet, strongly arched, are scalloped with shells centered in small spheres.
Good condition, small used restorations.
Linings traditionally redone by our upholsterer (horsehair on straps).
Parisian work from the Louis XV period around 1760 attributable to Jean Baptiste Tillard II. *
Very similar seats published on page 97 and 99 of the book "The art of the seat in the 18th century, Bill G.B Pallot"
Height: 100 cm; Width: 73 cm; Depth: 65cm
Our opinion :
The decoration with cartouches centered with hearts and spheres, acanthus fans or the light ears on the high rails of the backs, are characteristic of the work of the carpenter Jean Baptiste Tillard.
This decor and this line are worth a signature at first glance, these elements are so unique to it.
The presence of acanthus fans, an element that will be used extensively by John the Baptist II under Louis XVI, indicates that we are in the years 1760/1765, with still Louis XV seats but with sober lines.
The fullness of the seat, the delicacy of the decor and the quality of the beech wood used show that we are not on a current production but on a very fine work, probably on order, for the large living room of a castle.
Jean Baptiste Tillard II (1723-1797)
Son of Jean Baptiste I Tilliard, Jean Baptiste II was received as a master carpenter in 1752 but was not registered until 1764 when he took over the family workshop, rue de Clery, at the retirement of his father, then aged 78. . He continued the paternal work with obviously, the normal evolution of styles. As the father and the son used the same stamp without specifying the first names, it is not always possible to differentiate their creations.However, if one remains in doubt about the Louis XV seats, those in the Louis XVI style are undoubtedly attributed to John the Baptist II. But whether it is the father or the son, the Tilliard stamp remains a label. of very high quality. John the Baptist II took over from his father as "ordinary carpenter of the Furniture Guard of the Crown" and received important orders from the royal houses. Having made his fortune, he retired from business during the Revolution and died in 1797.
We find on the seats attributed to John the Baptist II characteristics peculiar to his father such as carved heart-shaped motifs adorning the top of the backs as well as a fan-shaped pleated palmette at the top of the feet. According to the fashion of the moment. He adopted. For the decoration of his works, interlacing, acanthus leaves,. Ribbons, garlands, roses and baskets of flowers. He delivered to the Palace of Versailles important decorated furniture of loves and trophies of music. The corporate regulations oblige him to collaborate for the very elaborate seats with the sculptors Chaillon and Doctor Mathon.
If his productions are sometimes more loaded and less elegant than those of his father, they are nonetheless of exceptional quality and richness.