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Lot 288: LOUCHET PAUL-FRANÇOIS (1854-1936)

Est: €450 EUR - €600 EURPassed
Rossini Maison de Ventes aux EnchèresParis, FranceJune 26, 2012

Item Overview

Description

LOUCHET Paul-François (1854-1936)
Vase en porcelaine à décor de glacis bleu et vert, agrémenté de chutes de fleurs réhaussées d'or.
Monture en bronze doré ornée de marguerites.
Porte le cachet : "Paris, Louchet, ciseleur"
H.: 31 cm (petit accident)

Artist or Maker

Notes

French furniture comprises both the most sophisticated furniture made in Paris for king and court, aristocrats and rich upper bourgeoisie, on the one hand, and French provincial furniture made in the provincial cities and towns many of which, like Lyon and Liège, retained cultural identities distinct from the metropolis. There was also a conservative artisanal rural tradition of French country furniture which remained unbroken until the advent of the railroads in the mid-nineteenth century.

Furniture made in provincial centers such as Blois and Orléans in the Loire valley, and at Lyon or Liège (Not part of France politically but within its cultural orbit), followed at some distance the design innovations that were initiated in the luxury trades of Paris, often with a time lag that could amount to decades.

Features typically associated with French Provincial furniture include cabriole legs, and simple scalloped carving. Dining chairs often have a wheat pattern carving reflecting the country surroundings of the maker. The ladder back chair with a woven rush seat is the typical French Provincial dining chair. Finishes vary though common to all colours is the accumulation of polish or grime in the carving over time resulting in an aged patina and emphasis on the carving regardless of whether the furniture is painted or stained.

In the metropolitan culture of France, French furniture, connoting Parisian furniture, embodies one of the mainstreams of design in the decorative arts of Europe, extending its influence from Spain to Sweden and Russia, from the late seventeenth century to the last craft traditions in workshops like Jacques-Emile Ruhlmann, which came to an end only with the Second World war. In the nineteenth and twentieth centuries, French furniture of the classic period 1660-1815, has been collected as passionately by non-French amateurs, with the English in the historical lead,[3] and has set record prices consistently, since the Hamilton Palace sale of 1882,[4] with the result that it is represented in many national museums.

In Paris, an unbroken tradition of apprenticeship, already fully formed when the design center for luxury furnishings shifted from Antwerp to Paris in the 1630s, was slowly disrupted by the Industrial Revolution after the mid-nineteenth century. Perhaps the last of the Parisian ébénistes working from a traditional atelier was Émile-Jacques Ruhlmann (1879-1933).

The grand tradition of French royal furniture received its impetus from the establishment of the Manufacture royale des Gobelins under the organisation of the arts in the service of Louis XIV of France that was controlled and directed by his minister of finance, Colbert. Favoured craftsmen would be eligible for premises in the galleries of the Palais du Louvre, a practice that had been initiated on a small scale under Henri IV. At the Gobelins, much more than tapestry was made for the furnishing of the royal palaces and the occasional ambassadorial gift: the celebrated silver furnishings for the Galerie des Glaces at Versailles was produced by silversmiths working to designs by Charles Le Brun at the Gobelins.

In Paris, the furniture trade was divided among craft guilds with jealous regard for infringements. Menuisiers were solely occupied with carved furnishings, which included beds and all seat furniture, as they were for the carved boiseries of the interiors they were destined to occupy. Carvers and gilders worked directly for them. Ébénistes, who drew their name from the ebony that they worked into cabinets that were carved in shallow relief and incorporated veneers of tortoiseshell and ivory, a specialty of Paris furniture in the mid-seventeenth century, retained their control over all carcase furniture that was intended to be veneered, often with elaborate marquetry. The bronze mounts that decorated these high-style case-pieces, from the 1660s to the abolition of guilds in the French Revolution, was furnished, and even carried to the ébéniste's workshop by separate guilds of foundrymen.

French furniture of the Ancien Régime, often characterised by dealers and collectors by reign-names, as "Louis Quinze furniture", etc., can be seen as representative, even formative, manifestations of broader European styles: French Gothic furniture, of which so little has survived; French Renaissance furniture of the sixteenth century; Early Baroque furniture associated with Louis XIII, comparable to what was produced at Antwerp; sculptural and tectonic High Baroque furniture associated with Louis XIV; Rococo furniture, associated with the Régence and the reign of Louis XV; and Neoclassical furniture, associated with Louis XVI.

French furniture of the Revolution and the First French Empire is imbued with a more severe, self-consciously archaeological phase of Neoclassicism, which began to lose its grip on styles in the 1830s, with Gothic and Rococo revivals, leading to the eclecticism of the French Second Empire. Art Nouveau provided one form of reaction to the battle of the historicist styles, and Modernism marked a more rigorous break with the past. Art Deco offered a decorative version of Modernism.

Since the Second World War, the manufacture of furniture in France, devolved from the prominence of the capital itself, has been part of the increasingly international world of industrial design.

Ébéniste (pronounced: [ebenist]) is the French word for a cabinetmaker, whereas in French menuisier denotes a woodcarver or chairmaker. The English equivalent for "ébéniste," "ebonist," is never commonly used. Originally, an ébéniste was one who worked with ebony, a favoured luxury wood for mid-seventeenth century Parisian cabinets, originating in imitation of elite furniture being made in Antwerp. The word is 17th century in origin. Early Parisian ébénistes often came from the Low Countries themselves: an outstanding example is Pierre Golle, who worked at the Manufactory of the Gobelins making cabinets and table tops veneered with marquetry, the traditional enrichment of ébénisterie, or cabinet-work.

Ébénistes make case furniture, which may be veneered or painted. Under Parisian guild regulations, the application of painted varnishes, generically called vernis Martin, was carried out in separate workshops, sawdust being an enemy to freshly varnished surfaces. At the outset of the French Revolution the guilds in Paris and elsewhere were abolished, and with them went all their regulations. One result of this is that Paris chairmakers were now able to produced veneered chairs, as London furniture-makers, less stringently ruled, had been able to make since the first chairs with splats had been produced shortly before 1720, in imitation of Chinese chairs.

Because of this amalgamation, chairs and other seat furniture began to use veneering techniques which were formerly the guarded privilege of ébénistes. This privilege became less distinct after the relaxation of guild rules of the Ancien Régime, and after the French Revolution's abolition of guilds in 1791. Seat furniture in the Empire style was often veneered with mahogany, and later in pale woods also.From the mid-nineteenth century onward, the two French trades, "ébéniste" and "menuisier," were often assembled under the single roof of a "furnisher", and the craft began to make way for the industry.

From the mid-17th century through the 18th, a notable number of ébénistes of German and Low Countries extraction were pre-eminent among Parisian furniture-makers, as the abbreviated list below suggests.

Joseph Baumhauer Pierre-Antoine Bellange Guillaume Beneman André-Charles Boulle Martin Carlin Adrien Delorme François-Honoré-Georges Jacob-Desmalter Pierre Garnier Antoine Gaudreau Pierre Golle Jean-Pierre Latz Jean-François Leleu Pierre Macret André Jacob Roubo Roger Vandercruse Lacroix Jean-François Oeben Jean Oppenord Jean-Henri Riesener Bernard II van Risamburgh Adam Weisweiler

Payment & Shipping

Payment

Accepted forms of payment: Other, Visa, Wire Transfer

Shipping

We ship items either via our services or via shipping companies.
Winning Bidders are responsible for arranging shipment after payment is made in full.
It is advised to purchasers to carry out the removal of their lots as soon as possible in order to avoid storage and handling charges.
Storage is not of the responsibility of the auctioneer.
Due to increases in security in many countries International Shipping can now take up to 6 weeks

Auction Details

Mobilier-Objets d'Art

by
Rossini Maison de Ventes aux Enchères
June 26, 2012, 02:00 PM CET

7 rue Drouot Face à l’Hôtel Drouot, Paris, 75009, FR

Terms

Buyer's Premium

20.0%

Bidding Increments

From:To:Increment:
€0€99€10
€100€399€20
€400€999€50
€1,000€1,999€100
€2,000€4,999€200
€5,000€19,999€500
€20,000€49,999€1,000
€50,000+€5,000

Terms and Conditions

1. In accordance with the law, the auctioneer is responsible for the information provided by his catalogues.
A preliminary exposure making it possible to the purchasers to realize the state of the objects put on sale, no complaint will be allowed once the price is pronounced.
Dimensions and estimates are communicated as an indication.
The state of the frameworks is not guaranteed, restorations and relining are regarded as conservation measures and not as factors of depreciation.

2. It is advised to purchasers to carry out the removal of their lots as soon as possible in order to avoid storage and handling charges.
Storage is not of the responsibility of the auctioneer.

3. The highest and last bid will be the winning bid. In the event of double bidding, the lot will be given on sale, all the amateurs present being able to contribute to this second invitation to tender.

4. Purchase lot will become available only after payment in-full has been made.

The sale will be conducted in Euros. Purchasers pay in addition to the hammer price, buyer's premium of 20% + VAT = 23,92%.
The Internet buyers won't pay any other charge, the internet fee is included inside the total VAT hammer price (same as floor bidders).

5. In the event of a sale by a salesman fixed with the margin, VAT will not appear on the invoice.

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7. In the event of payment by check by the purchaser, the transfer of property of the object will take place only after cashing of the check. In the event of payment by uncertified check, the withdrawal of the objects could be differed until cashing of the check.
Purchasers who do not reside in France, will be able to pick up their purchases only after payment per telex or SWIFT. In the absence of payment by check or in cash, the object could be given to auction immediately or following the first opportunity.

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Your Internet bid is a binding and legally enforceable contract.
Please note that the 3% of Internet fee is included in our premium. There are no additional Internet charges.
Please note:
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The English translation is courtesy to the English speakers.
Internet Bidder will pay the same Premium as in the auctionroom.

Payment

We accept Money transfer only. No paypal. In case we have to use paypal, the paypal fee is will be charged to the buyer.

Shipping

We ship items either via our services or via shipping companies.
Winning Bidders are responsible for arranging shipment after payment is made in full.
It is advised to purchasers to carry out the removal of their lots as soon as possible in order to avoid storage and handling charges.
Storage is not of the responsibility of the auctioneer.
Due to increases in security in many countries International Shipping can now take up to 6 weeks

Premium

Purchasers pay in addition to the hammer price a buyers premium of 20% + current VAT
Please note that the 3% of Internet fee is included in our premium. There are no additional Internet charges.

Taxes

Purchasers pay in addition to the hammer price and the buyers premium a
VAT at 19.6% on the buyers premium.
Total 23.92%
Purchasers will not pay in addition an Internet fee at 3%, The Internet fee is including in the global Premium.
Please note that the 3% of Internet fee is included in our premium. There are no additional Internet charges.

Condition Reports

In accordance with the law, the auctioneer is responsible for the information provided by his catalogues. A preliminary exposure making it possible to the purchasers to realize the state of the objects put on sale, no complaint will be allowed once the price is pronounced.
Dimensions and estimates are communicated as an indication. The state of the frameworks is not guaranteed, restorations and relining are regarded as conservation measures and not as factors of depreciation.
Please Note : The conditions reports are available on request. To receive a report, please contact Madame Dalila Adib at dalila.adib@rossini.fr.
We will complete reports for requested lots as quickly as possible.