This exquisitely crafted pair of fauteuils bear close relationship to the oeuvre of Jean Avisse (1723-after 1796), reçu maître in 1745, who produced furniture pieces to private clients such as the Marquise de Chabannes, the Comtesse de Fontenay and the Chevalier de Lamott. Jean Avisse is recorded as employing the sculptors Jean-François Baillard, Pierre Rousseau and Claude Vinache and to have also worked on occasions with the sculptor Nicolas Heurtaut, which would explain as well the occasional similarities between their works.
Characteristics of Avisse's fauteuils are stiff uprights, wide mouldings and very little carving. His more elaborately carved works as, possibly, the present examples are 'always masterpieces of execution, featuring finely detailed carving and unusual motifs.' (B. Pallot, The Art of the Chair, Paris, 1989, p. 299)
The shape and finely sculpted motifs found on these fauteuils is similar to existing examples stamped by Avisse, such as those illustrated in P. Kjellberg, Le Mobilier Français du XVIIe siècle, Paris, 2002, p.34, no.a. with overlapping leaves. A pair of fauteuils sold Sotheby's New York, 23 October 2013, lot 120 and two sofas, one B. Pallot, op.cit. p.33 - formerly in the Espírito Santo Collection - and the other Sotheby's Paris, 17 December 2002, lot 107, display similar burgeoning roses on the apron and/or on the top of the legs.