Antiques Period LLC Seating

A Directoire Mahogany Bergère Attributed to Georges Jacob, its curved back and padded armrests with finely carved baluster-shaped supports raised on turned front legs and sabre back legs. With a spurious Jacob stamp to back rail. The term "Directoire" refers to a historical period following the French Revolution (1789) and preceding the First Empire when Napoleon reigned, but also to a style of furniture and decoration covering a longer period from 1789 to 1804. It is characterized by the production of furniture with simplified forms and ornaments, inspired by antique decorations. The profound social and political upheavals that marked this period had a direct impact on the production of Directoire furniture. The stripping down of furniture pieces, which had begun in the 1780s under the influence of Greek art, was accentuated during this period. The abolition of guilds by the revolutionaries also forced manufacturers in the Faubourg Saint-Antoine to simplify shapes and materials. Elegant and graceful, the furniture is generally small-scale. They retain the Louis XVI structure. The Directoire style adopts clean shapes, straight lines, simple curves, flat surfaces and right angles. Lines accentuate geometric shapes inspired by Antiquity. A typical trait is the pronounced rolled-over back, similar to a scroll illustrated in our bergere, evocative of the klismos chair. Only the more luxurious pieces of furniture use mahogany, an exotic and expensive wood. Despite his humble origins, Georges Jacob rose to become one of the most renowned menuisiers of his day. Unlike many artisans who joined their fathers or brothers in the middle-class family trade of furniture making, Jacob was from a peasant family and moved to Paris at sixteen to begin his career. He apprenticed in a joinery workshop and eventually became a master in 1765. He developed a reputation for producing inventive designs for chairs, beds, and screens carved with such motifs as twisted ribbons, guilloches, beading, and fluting. Jacob's reputation grew quickly, eventually spreading outside France; the future King George IV of England, Gustavus III of Sweden, and several German princes...

The crestings above solid vase-shaped splats, the waisted uprights above shaped drop-in seats raised on cabriole legs with pad feet. Possibly American.  

Covered in striped silk, the molded seat raised on six stop-fluted tapering legs.

Each upholstered backrest with backscrolled top rail above an upholstered seat flanked by arm rests, raised on ring-turned legs; each stamped JACOB FRERES / RUE MESLEE on back rail, three with old inked inscription M Julien...

The curved pierced back with a palmette-inlaid shaped splat terminating in dolphin supports raised on an upholstered seat, on front carved joined hairy animal legs (pieds de bîches) and hoof feet and back sabre legs; stamped: JACOB FRERES RUE MESLEE under the front rail. For a similar dolphin support, see Madeleine Jarry and Pierre Devinois, Le Siège Français, pp. 267 and 271 illustration 264 for an armchair at the Musée Marmottan stamped G. Jacob and executed in 1792. Provenance: Millicent Rogers her son, Arturo Peralta Ramos II Jacob Frères was the stamp used by brothers Georges II (1768-1803) and Francois-Honore Jacob (1770-1841) from 1796 to 1803. They were sons of Georges Jacob (1739-1814), arguably the best-known chair maker who worked for aristocracy and royalty during the reign of Louis XVI. The Jacob Frères firm's most famous client was Josephine, wife of Napoleon Bonaparte. She would have most likely seen the work of their father during the revolution in a progressive aristocrat's house. She used them to decorate various Imperial residences, such as the Tuileries palace, and remained a loyal customer, using them almost exclusively, until her death. When Georges II (the elder brother) died in 1803, Georges came out of retirement to help the remaining son, Francois-Honoré (who changed his named to Jacob Desmalter) from a new partnership called Jacob Desmalter Et Cie. (stamped Jacob D. R. Meslée, on two lines), which continued to be an influential supplier for the Imperial period and is credited with helping to define the Empire style as it is known today. Millicent Rogers, born Mary Millicent Abigail Rogers, was a Standard Oil heiress, but she wasn’t a poor little rich girl...

The rectangular padded seat covered in brown leather, opening to reveal a set of library steps, over a solid inlaid seat-rail and ring-turned tapering legs ending in castors. 18in. high, 34 1/2in. wide and 16 1/2in. deep. Opened, 36in. high and 49in. wide. Rooms organized during the Regency period as libraries often had floor-to-ceiling bookshelves. The upper shelves were difficult to reach, so movable library stairs were invaluable. Further, libraries were one of the most important rooms in a stately house, symbol of its owner's wealth, culture and status. As a consequence, designers, architects and cabinet or chair makers devoted much attention to its architecture and decoration. Hence, the emrgence of innovative ideas such as our bench. Enter the Regency era metamorphic library chair/bench (chairs are more common than benches)! The tables, chairs and stools containing library steps were patented in Great Britain by Robert Campbell in 1774 but this innovative chair-based design did not become immediately popular. Once the Regency was established, a neo-classical interpretation of Campbell’s Metamorphic Library Chair concept started to become popular in London. Any early attributions rely heavily on two contemporary sketches...

Each with a rectangular carved panelled top rail above a pierced vertical splat and an upholstered seat, raised on front tapering circular legs and saber back legs. The exquisite qu...

Each with a foliate carved crest over pierced splat on front square molded legs with fret carving ending in block feet, the back legs splayed, with stretchers. Possibly American.

The mahogany barrel back with an outscrolled crestrail and a dark red leather bowed seat raised on back saber legs and
lion's mask and cartouche-carved monopodia.

The rectangular arched padded back above a padded seat and tapering front legs topped with the head of a sphinx and ending in paw feet.

Of typical form, raised on legs ending in casters.