louis xv chair museum
Armchair (fauteuil à la reine) Carved and gilded walnut, late 17th-century wool velvet (not original) H. 46-1/2 x W. 28 x D. 23-1/4 in. (118.1 x 71.1 x 59.1 cm) Purchase, Gift of Mr. and Mrs. Charles Wrightsman, by exchange, 1983 On view at The Met Fifth Avenue in Gallery 522 French Furniture in the Eighteenth Century: Seat Furniture The Golden Age of French Furniture in the Eighteenth Century European Furniture in The Metropolitan Museum of Art: Highlights of the Collection The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art European Sculpture and Decorative Arts (42,159) Object Type / Material Armchair (part of a set) Armchair (Fauteuil à la reine) (one of a pair) Armchair (fauteuil) from Louis XVI's Salon des Jeux at Saint Cloud Armchair (fauteuil à la reine) (part of a set) Armchair (bergère) (part of a set) XV of France, born in 1710, is the great-grandson of Louis XIV
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were generally made of beech, There were almost one hundred exotic woods, covering practically the entire range of different colours used in marquetry work. wood, which has a fine grain and is a good medium for carving, was used for chairs, tables, commodes, cupboards and other similarThe wood was often painted or in gold leaf. bronze ornamentation was an essential part of some items. Rocks and shells with foliage and flowers dominated the theme of the ornament with blossoms, sprays and tendrils, reeds, branches of palm The acanthus leaf, originated in ancient Greece, often elaborately serrated and fringed became very long and narrow. Especially fashionable themes were musical instruments, such as the violin, flageolet and tambourine, hunting and fishing, symbols of love, such as bows, arrows and torches, and pastoral emblems, such as crooks and the large straw hats of shepherdesses.Rococo Chair Antique Chairs Antique Furniture Regency Furniture Fine Furniture Tapestry Arm Chairs Music Rooms Needle Points Forward One of a set of eighteen George III giltwood open armchairs by Thomas Chippendale.Additional Information: Originally gilt and upholstered in green silk damask.
They were invoiced on November 12 1773French Style was a revival of styles that had been fashionable in France between 1660 and 1790. This taste was fuelled by the arrival in Britain of art dispersed after the French Revolution of 1789. The French Style represented luxury and glamour and was the most popular commercial style in Britain from about 1835 to 1880. Gilding was a very important element of the French Style. It was applied to many different kinds of objects. This use of gold was characteristic of the wealth and luxury associated with the style. Rich colours were essential to the French Style. Rooms were furnished with boldly coloured carpets and curtains and richly upholstered furniture. Brightly decorated porcelain was also extremely fashionable. The various French styles revived in the 19th century were identified by the names of the French kings who ruled when they were first used. The Louis XV style was characterised by the use of curving S- and C-shaped scrolls.
French Style was very ornate. Objects were highly decorated and interiors were richly furnished. Grand room settings often combined modern objects in the French Style with historic French pieces. In the 19th century the comfort of historic French styles was increased by adding elaborate upholstery. Curtains were fringed, swagged and decorated with tassels. Chairs were frequently deep-buttoned and trimmed with equally rich fringes, braids and tassels. George IV was the most important promoter of the French Style. In the early years of the 19th century he commissioned many objects in the style and collected historic French pieces. The king, who reigned from 1820 to1830, led the aristocratic taste for collecting French antiques. It was this fashion that led to the modern production of furniture, textiles, ceramics, silver and all kinds of luxury products in the French Style. During the 19th century this became the mainstay of production for most middle-class markets. The Minton Ceramic factory in Staffordshire was established by Thomas Minton in 1796.
By the Victorian period the company had become one of the largest and most successful in Britain. It produced a wide range of ceramics, but was particularly famed for its French Style pieces which emulated the luxury porcelains made at the famous French royal porcelain factory at Sèvres in the 18th century. Minton & Co. produced many spectacular pieces for display at the international exhibitions. These were guaranteed to catch the eye of visitors and were often awarded prizes. The architect Benjamin Dean Wyatt visited France briefly in 1815, but most of his knowledge and inspiration came from drawings and engravings. Wyatt was particularly interested in the art and architecture of the reign of Louis XIV (1643 - 1715). This is seen in his most famous commission, the Waterloo Gallery at Apsley House, London, the home of the Duke of Wellington. With the richly-coloured silk hangings, ornate plaster ceilings, white and gold woodwork, marble fireplace and marquetry floor, Wyatt sought to recreate the grandeur of Louis XIV's palace at Versailles.
In Britain the French Style was used primarily for interior decoration rather than architecture. One exception to this was Wrest Park in Bedfordshire, re-built between 1834 and 1839 to the designs of its owner Earl de Grey. He was inspired by Parisian buildings and French 18th-century engraved designs. Inside, the rooms were also in the French Style with carved wooden panelling, elaborate plaster ceilings picked out in gold, and walls set with panels of brightly coloured silk. In some of the rooms the earl fitted authentic 18th-century French panelling. Waddesdon Manor was built between 1874 and 1889 for Baron Ferdinand de Rothschild, a member of the successful banking family. He, like many of his relatives, was an enthusiastic collector of 18th-century French works of art. Most of the interiors at Waddesdon were in the French Style. The Louis XV-style Dining Room featured richly coloured marbles, tapestries, carved and gilded furniture and large expanses of mirror glass. The mirror frames had come from an 18th-century house in Paris, but the rest of the furnishing were newly made.