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Lot Essay
Pierre Rémy, maître in 1750.
This fauteuil, or an identical one, from the collection of Didier Aaron, New York, is illustrated in B. G. B. Pallot, L'Art du siège au XVIII en France, Paris, 1987, p. 204. Pallot notes: 'On remarquera la rigeur de son architecture aux moulures sévères et de la sculpture réduite a quatre fleurons. La dossier est parfaitement cintre et la ligne serpentine de la devanture est brisée par des ressauts.'
Active between 1750 and 1780, Pierre Rémy, whose works span the Louis XV through to the Louis XVI style, produced both seat furniture and boiserie panels. His production was much appreciated both then and now for the richness of its form, large proportions and bold sculptural outline. His pieces from the late Louis XV transitional period, such as this generous fauteuil, are distinguished by a restrained sobriety of design. For further information see K. Peres, 'Pierre Remy, menuisier sous Louis XV et Louis XVI', L'Objet d'Art, March 2001, pp. 74-82.
This fauteuil, or an identical one, from the collection of Didier Aaron, New York, is illustrated in B. G. B. Pallot, L'Art du siège au XVIII en France, Paris, 1987, p. 204. Pallot notes: 'On remarquera la rigeur de son architecture aux moulures sévères et de la sculpture réduite a quatre fleurons. La dossier est parfaitement cintre et la ligne serpentine de la devanture est brisée par des ressauts.'
Active between 1750 and 1780, Pierre Rémy, whose works span the Louis XV through to the Louis XVI style, produced both seat furniture and boiserie panels. His production was much appreciated both then and now for the richness of its form, large proportions and bold sculptural outline. His pieces from the late Louis XV transitional period, such as this generous fauteuil, are distinguished by a restrained sobriety of design. For further information see K. Peres, 'Pierre Remy, menuisier sous Louis XV et Louis XVI', L'Objet d'Art, March 2001, pp. 74-82.