T he Important Mobilier, Objets d’art, Sculpture et Orfèvrerie sale features a fine selection of works by French cabinetmakers and master menuisiers.
Highlights include a carved ebony and engraved cabinet circa 1640, as well as several pieces attributed to or stamped by the most famous 18th-century cabinetmakers, from André-Charles Boulle and Jean-Henri Riesener to Antoine-Robert Gaudreaus. Menuisiers will also be honored with sets by Gourdin, Lebas and Sené. There are certain pieces with royal provenance, which will delight lovers of prestigious pedigrees. We're also delighted to present two important collections with prestigious provenance.
From a Prestigious Collection
“There is no greater pleasure for an Interior designer than working with these marvelous objects proposed in this exceptional sale; their elegance, their refinement and their intrinsic beauty demand a background of similar quality which enhances the final result. These decorative elements become art objects at the same level than contemporary paintings to whom they give historical reference as well as an added refinement.”
Robert Couturier's Selection
Féau Boiseries is keeping the tradition of French-style interiors alive.
The prestigious firm designs, adapts, produces, and installs wood-paneling decors inspired by iconic architects from the 17th century to the present day.
"Staging, fine-tuning, associating, there is no shortage of words to describe this very special moment when we strive to strike a balance. So what could be more exciting than trying to marry two periods as opposed as the eighteenth and the twentieth centuries. One is as classical and highly refined as the other is radical and angry. To dare to juxtapose Jean Dubuffet with the cycle of celebration of geometric parquet and marquetry seems at best a mistake and at worst destined to clash. And yet!
The love of materials, the wood and its fragility on the one hand, the collage of canvases on the other, brings them closer together than one might think. The symphony of tones, the piling up of techniques, one is as abstract as the other is figurative. The eye gradually adjusts, the references cross paths and the talent of the artists does the rest.
We are in a France doing what it does best, staying close to the materials, at the cutting edge of technique. We think of the craftsman as much as the artist, the one through whom emotion springs."