Generated by All in One SEO v4.9.8, this is an llms.txt file, used by LLMs to index the site. # Anton Venoir Interiors Fine French Antiques and Interiors ## Sitemaps - [XML Sitemap](https://antonvenoirinteriors.com/sitemap.xml): Contains all public & indexable URLs for this website. ## Posts - [Anton Venoir Interiors, Appartement 26, The Concept and The Collection](https://antonvenoirinteriors.com/anton-venoir-interiors-appartement-26-the-concept-and-the-collection/) - An elite antique dealer,ship specializing in fine French antiques, decorative art objects, and French interior decoration. Sourcing, studying, and preserving rare, - [French Liaisons, French Antiques For Fabulous Decor Anton Venoir Interiors](https://antonvenoirinteriors.com/french-liaisons-french-antiques-for-fabulous-decor-anton-venoir-interiors/) - Unlike London, today there are only a few authentic period interiors left in Paris, having survived from before the French Revolution, or the French’s predilection for changing fashion constantly. For the potential collector, interior designer or architect, looking for long-term investment as well as decorative pieces particularly suited to contemporary interiors, French antiques certainly deserve - [Hawkeye's Parisian Pop-Up Salon](https://www.broadsheet.com.au/melbourne/event/hawkeye-parisian-salon-pop-and-accessories-launch-2015-05-14) - [french connection](https://antonvenoirinteriors.com/french-connection/) - [Petit Palais](https://antonvenoirinteriors.com/petit-palais-2/) - [Real renovation: Parisian-inspired design](https://www.completehome.com.au/renovations/real-renovation-parisian-inspired-design.html) - [A Coco Chanel retrospective is coming to Melbourne - Fashion Journal](https://fashionjournal.com.au/fashion/fashion-news/a-coco-chanel-retrospective-is-coming-to-melbourne/) - [A Dance with Chance – isn’t that what life is all about | Hat Matters](https://hatmatters.wordpress.com/2015/05/27/a-dance-with-chance-isnt-that-what-life-is-all-about/) - [Petit Palais](https://antonvenoirinteriors.com/petit-palais/) - [Melbourne Antiques Fair 2015 - Review - Melbourne](https://www.weekendnotes.com/melbourne-antiques-fair-review/) - The delight of a "VIP" invitation is always welcome, and armed with mine, courtesy of a generous Melbourne-based dealer, I made my way with great anticipation, to the 2015 Melbourne Antiques Fair (7 to 10 May), held at the world heritage classified Royal Exhibition Buildings in the Carlton Gardens. As featured in weekendnotes.com - [Vogue - Petit Palais](https://antonvenoirinteriors.com/vogue-petit-palais/) - Download the Vogue article - [Anton Venoir Interiors – French Antiques for Fabulous Decor](https://www.thecultureconcept.com/anton-venoir-interiors-french-antiques-for-fabulous-decor) - For the collector, interior designer and architect looking for investment or significant pieces for contemporary interiors, French antiques do deserve attention... As featured in www.thecultureconcept.com ## Pages - [Home](https://antonvenoirinteriors.com/) - French antiques, decorative art objects and interior decorations. Our pieces date from the 17th Century - 19th Century Louis XIV, Regence, Louis XV, Louis XVI. - [2025 HIGH TEA EVENT SERIES](https://antonvenoirinteriors.com/event-series/) - [et_pb_section fb_built=”1″ _builder_version=”4.24.2″ _module_preset=”default” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_row _builder_version=”4.24.2″ _module_preset=”default” border_radii=”on|1px|1px|1px|1px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” border_radii=”off||||” global_colors_info=”{}”][et_pb_text content_phone=” 2022 High Tea Event Series Anton Venoir Events have commenced our 2022 series of private dining & high tea events including Your own Bespoke event. We can design a bespoke tour & dining experience with produce from various regions Parisian Salon Private Dining Lavishly decorated in Fine French 18th Century Antiques and interiors. The perfect setting for private dining viewings - [Press](https://antonvenoirinteriors.com/press/) - As posted in the press - [Our Services](https://antonvenoirinteriors.com/services/) - Parisian Salon specialising in the most beautiful French antiques, lessons on French history, private viewings, High Teas, or consultation on French inspired interiors. - [Terms & Conditions TEXT](https://antonvenoirinteriors.com/terms-conditions-text/) - The purchasers shall give their full names and addresses, and provide proof of identification. A minimum deposit of 10% deposit on in stock items and a minimum deposit of 25% deposit for goods to be purchased on request, unless otherwise agreed. (international and interstate buyers to establish credit before purchase) Each item of purchase must - [Terms and Conditions](https://antonvenoirinteriors.com/terms-and-conditions/) - The purchasers shall give their full names and addresses, and provide proof of identification. A minimum deposit of 10% deposit on in stock items and a minimum deposit of 25% deposit for goods to be purchased on request, unless otherwise agreed. (international and interstate buyers to establish credit before purchase) Each item of purchase must - [Antiques](https://antonvenoirinteriors.com/antiques/) - [About Us](https://antonvenoirinteriors.com/about-us/) - Ever growing, ever changing world of antiques. Fine French antiques, decorative art objects and French interior decorations. - [Shipments and Delivery](https://antonvenoirinteriors.com/shipments-and-delivery/) - Anton Venoir Interiors offers a free metropolitan delivery and full-service of shipping options. We can help you with everything from priceless decorative art pieces to moderately priced items. We have experience with paintings, furniture, antiquities and all types of decorative art pieces, with a door-to-door delivery service. We offer competitively priced, high quality shipping services. ## Products - [A 19th Century Louis XV Oak “Lit Du Jour”, Day-bed. Circa 1880](https://antonvenoirinteriors.com/antiques/furniture/beds/19th-century-louis-xv-day-bed/) - Each end with cartouche back and serpentine shape, carved with foliate sprays and centered with trailing floral sprays and flowerheads, upholstered in a gold silk damask flanked by padded rails, over a chaneled serpentine apron with a floral spray and acanthus scrolls, raised on foliate and cabochon-carved cabriole legs. 44¾ in. (114 cm.) high 84 - [A 19th Century Empire, Mythological, Ormolu, Mantle Clock of Eros, signed Navrancourt as a Brest. Circa 1815-1830](https://antonvenoirinteriors.com/antiques/clocks/a-19th-century-empire-mythological-ormolu-mantle-clock-of-eros-signed-navrancourt-a-brest-circa-1815-1830-2/) - EROS Eros was the Greek god of love, son of Aphrodite and either Ares or Hermes. In some myths, he was considered a primordial god, a child of Chaos, who blessed the union of Gaia and Uranus after which the universe came into existence. Especially in later works by satirical poets, he was depicted as a blindfolded male, who, carrying his bow and arrow, could target any human being and make them fall in love with the first person they would see. One of the most prevalent myths in ancient Greece was that of Eros and Psyche; according to it, Aphrodite was jealous of the beauty of mortal princess Psyche and told her son to make her fall in love with the ugliest creature on earth. However, Eros fell for her instead and took her to his divine abode. However, Psyche's jealous sisters led Psyche to betray Eros, who abandoned her; Psyche, wandering the Earth for her lost love, approached Aphrodite for help. Aphrodite created a series of tasks for Psyche which she successfully passed, and hence, Aphrodite decided to concede. Since then, Psyche became immortal and united with her husband. They had a daughter, Hedone (meaning bliss). According to Hesiod in his Theogony, Eros was one of the primeval gods who, along with Chaos and Gaia (Earth), were responsible for the Creation. Here he perhaps represented a universal love. In other traditions he was the winged acolyte or assistant of the goddess Aphrodite, goddess of Love and Beauty. He was also sometimes regarded as the child of Aphrodite, with Ares as his father, and his brothers were Deimos (Fear), Phobos (Panic), and Harmonia (Harmony). In some traditions Eros also had a younger brother - Anteros - who was a much darker figure and avenger of unrequited love - [A 17th Century Royal Aubusson Tapestry, by Isaac Moillon (1614-1673) “Τhe Banquet Of Dido And Aeneas”](https://antonvenoirinteriors.com/antiques/decorative-arts/tapestries/17th-century-aubusson-tapestry-1614-1673/) - Bibliography: Tapestry represented by Mrs Nicole de Reyniès in her work on Isaac Moillon «a painter of the King in Aubusson» page 210 with on the page 211 of the coloured reproductions of several tapestry with some variants on the same topic. Somogy editions of art, departmental museum of the tapestry Aubusson, June, 2005 157-222 The Trojans land in Africa after the storm. Aeneas reconnoitres, and shoots seven stags. He heartens his men and they feast, saddened by the apparent loss of thirteen of their twenty ships. 223-96 Venus compalins to Jupiter that the promise of Aeneas' destiny is not being fulfilled. He replies that it will be fulfilled, and outlines the glory awaiting the Roman people and their mission to civilize the world. 297-304 Jupiter sends Mercury to tell Dido to receive the Trojans hospitably. 305-417 Aeneas meets his mother Venus, disguised as a huntress. She tells him the history of Dido and Carthage, and when she asks him for his story, he complains bitterly of his ill fortune. She replies that his companions will return safely, and disappears after hiding him and Achates in a cloud. 418-493 Aeneas and Achates marvel at the size and activity of the newly established town of Carthage. They come to the temple of Juno, where they see on the walls pictures of events in the Trojan war; Aeneas is heartened by this, and studies them one after the other, reminding himself of the triumphs and disasters of the war. 494-656 Dido comes to the temple, and while she is attending to the city's affairs, Aeneas' lost companions approach. Ilioneus on their behalf asks for help, which she readily grants. Aeneas then comes forth from the cloud and gratefully expresses his thanks. She is amazed to find that so famous a hero has come to her kingdom, and proclaims sacrifices and a feast. Aeneas for his part sends Achates to bring presents. 657-94 Venus intervenes by instructing Cupid to disguise himself as Ascanius and make Dido fall in love with A. She spirits Ascanius away. 695-756 Cupid disguised as Ascanius arrives, and the banquet begins. Dido is captivated by his charm. After a song by the minstrel, she asks A. to tell the story of his 7-years wanderings. Le banquet donné par Didon en l'honneur d 'Enée Tapisserie manufacture Royale d'Aubusson dernier quart du XVIIe siècle. Tenture de Didon et Enée d'après des modèles du peintre Isaac Moillon (1614-1673). Dans la grande salle du palais de Carthage, les convives du festin sont installés. A droite Didon entoure de son bras l'enfant cupidon, à son coté Enée raconte les malheurs de Troie, puis sur la gauche Achate se fait servir à boire. Tapisserie entourée d 'une belle bordure à décor de guirlandes de fluers. Bibliographie: Tapisserie décrite par Mme Nicole de Reyniès dans son ouvrage sur Isaac Moillon « un peintre du roi à Aubusson »page 210 avec à la page 211 des reproductions en couleurs de plusieurs tapisserie avec quelques variantes sur le même thème. Somogy éditions d'art, musée départemental de la tapisserie Aubusson, juin 2005 - [18th Century, Regence Period Boulle Bracket Clock, signed Doyen a Paris. Circa 1715](https://antonvenoirinteriors.com/antiques/clocks/18th-century-boulle-bracket-clock-circa-1715/) - Nessus and Deianira Heracles came to Calydon and fell in love with a woman named Deianira, the daughter of King Oineus. The princess was very beautiful and had many admirers, including the river god Achelous. The two suitors fought a hard battle over the maiden, but Achelous was no match for the mighty son of Zeus. Heracles carried her away, but they soon reached a place in the road that was flooded by a stream. A centaur named Nessus was waiting by the water kindly offering to carry stranded travelers across on his back. Heracles laughed at the prospect of this and chose to swim to the opposite side. Deianira, fully placed her trust in Nessus and promptly climbed aboard for a ride. Finding his passenger to be quite beautiful, the randy centaur turned and tried to flee, but when Heracles heard the frightened cry of the princess aimed and shot her kidnapper with one of his poison arrows. Before he died, Nessus whispered in Deianira's ear and told her to take a shirt belonging to Heracles and dip it into his blood. The garment could then be used as a powerful love charm should her husband's affections ever wane. Deianira did as she was told but decided to keep her actions a secret. When Heracles ended his labors, he was not content to leave things as they were. He instead went on to seek amends from all those who had wronged him in the past. One man in particular was King Eurytus of Oechalia. For it seems that years earlier the king offered his daughter Iole to anyone who could beat him in a contest of archery. Though Heracles clearly was the winner, the king did not stay true to his word. Heracles returned to Oechalia, slew Eurytus and took Iole away as his concubine. This caused Deianira to become mad with jealousy and she decided it would be a good time to see if Nessus' secret love charm really worked. Unfortunately she did not know the blood of Nessus had been poisoned when the centaur was pierced by Heracles' arrow. Deianira sent Heracles the special cloak, begging him to wear it while making his sacrifices. When the alter flames caused the blood on the garment to warm, Heracles was overwhelmed with burning pain. In agony he tried to rip the clothing from his body but his efforts were of no avail. Any attempt to remove the garment also caused the shredding of his own flesh. Knowing that his death was near, Heracles pulled down two tree trunks and made a funeral pyre. As he climbed on top he begged his companions to ignite the wood lying beneath him. With a burst of thunder, Athena appeared and carried the dying hero off to Olympus. When the flames died down all that remained upon the pyre were the mortal ashes Heracles had inherited from his mother. His immortal half now lived in the divine palace with his father Zeus and the rest of the gods. When Deianira heard what she had caused her husband's death she was so overcome with both grief and guilt that she took her own life. - [18th Century, Louis XV Chapeau de Gendarme Armoire. Circa 1745](https://antonvenoirinteriors.com/antiques/furniture/armoires/18th-century-louis-xv-armoire-circa-1745-5/) - 18TH CENTURY, LOUIS XV CHAPEAU DE GENDARME ARMOIRE D'AVIGNON. CIRCA 1745. Made of solid walnut, the oregin of this Armoire is attested by the presence of the "Chapeau de Gendarme" shaped cornice, traditional of Sth Provence, Avignon region. The shaped cornice, above decorated pediment of fine carvings of C scrolled foliate motifs and richly carved outsized bouquet of Spring flowers and foliate motifes, traditional to the region. The two doors each with three C scrolled carved panels and shaped apron, decorated with high relief bouquets of flowers and foliate motifs, The center panels of the doors and plinth decorated with foliate motifes centere by a roccoco carved shell. Fitted with iron cast hinges and bronze cast escutcheons, on conforming foliate feet Height. 256 Width. 165cm Depth. 59cm - [18th Century Louis XV Period, Serpentine Shaped, Boise de Rose, Gilt- Bronze, Mounted Commode, by Pierre Roussel. Circa 1760](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/18th-century-louis-xv-commode-circa-1760/) - Pierre Roussel: Pierre Roussel (1723-1782). Became Master in 1745. His renown as a cabinet maker has-been crowned by orders from the Prince de Conde for his "Palais Bourbon" in Paris and the Chateau de Chantilly. Pierre Roussel's works show a great sense of imagination and a real talent. He made very Careful and elegant inlaid, based on sketches pleasant. His furniture is distinguished by a Richfull decoration, and a generous use of gilded bronzes framing inlaid panels. The name Roussel constituted an important dynasty of 18th century cabinetmakers who obtained a first class reputation in Paris through three main protagonists, Pierre Roussel I, Pierre-Michel and Pierre Roussel II, received masters respectively in 1745, 1766 and 1771. Suppliers of the Court, the Prince of Conde and Princess of Monaco, a rich clientele of aristocrats and wealthy bourgeois, the Roussel family, native Cotentin, is an example of upward mobility and professional organization in the middle of the Parisian cabinetmaking in the 18th century. Records and extensive documentation, trace the works of the Roussel family, highlighting the works of Roussel and changing styles through the era, of more than 100 significant pieces of furniture, showing their technical and aesthetic inventiveness, and referring to the number of interactions with masters of the Faubourg Saint-Antoine and the market abroad. The furniture stamped by Roussel presented in numerous museums in France and in the world, such as the Petit Palais, the Decorative Arts, Carnavalet, Jacquemart-André, the Decorative Arts in Budapest and the Metropolitan Museum of Art in New York. - [An 18th Century Georgian duning table circa 1790](https://antonvenoirinteriors.com/antiques/furniture/tables/a-george-iv-acjou-flamee-salon-dining-table-circa-1790/) - The pair of rounded end, rectangular occasional tables of flame mahogony, with crossbanded edge above a plain freize on lyre shapped supports, on downswept reeded legs headed by rounded knees, with lion paw brass caps and casters. The centre drop leaf, gate-leg table, of mahogany with crossbanded edge above a plain freize over four straight legs. - [A French Louis XVI Giltwood Veilleuses a La Turque de Clavecin. 19th Century. Circa 1820](https://antonvenoirinteriors.com/antiques/furniture/seating/a-french-louis-xvi-giltwood-veilleuses-a-la-turque-de-clavecin-19th-century-circa-1820/) - The harpsichord shaped canapé, with channelled, ribbon-twists and acanthus leaves carving to the back frame, shaped armrest supports and seat-rails, above 7 tapering fluted legs, terminating toupee feet, upholstered in a rich salmon and cream silk damask fabric. W: 160cm, D: 80cm, H: 80cm. - [A French Louis XV Veilleuses À La Turque De Clavecin. 19th Century. Circa 1850](https://antonvenoirinteriors.com/antiques/furniture/seating/a-french-louis-xv-veilleuses-a-la-turque-de-clavecin-19th-century-circa-1850/) - The harpsichord shaped canapé, with C-scrolled chanelling and rococo cartoches, within moulded serpentine shaped back and seat-rail. The back frame with acanthus leaves carving , shaped armrest supports and seat-rails, above 7 cabriole legs, headed by flowerheads and foliate pendants upholstered in a rich salmon and cream silk brocade fabric. W: 160cm, D: 80cm, H: - [A Pair of Walnut, Louis XV period, Salon Chaises a la Reine by Pierre Nogaret. Circa 1760 - 1765](https://antonvenoirinteriors.com/antiques/furniture/seating/a-pair-of-walnut-louis-xv-period-salon-chaises-a-la-reine-by-pierre-nogaret-circa-1760-1765/) - Each with ribbon-carved frame, padded cartouche-shaped back, scrolling arms and shaped seat covered in pale blue damask silk, over a molded serpentine seatrail centrally carved with flowerheads and leafy sprays, on cabriole legs headed by twin flowerheads and pendant leaves, by Pierre NOGARET. Circa 1740-1745 Height: 86 cm, Width: 54 cm. - [An 18th Century, French Louis XVI Period Salon Suite by Nicholas Lexcellent. Circa 1780](https://antonvenoirinteriors.com/antiques/furniture/seating/an-18th-century-french-louis-xvi-period-salon-suite-by-nicholas-lexcellent-circa-1780/) - Nicolas Lexcellent. Maître. ( Master ) July 18, 1764. Comprising of 6 fauteuils and a canapé. With channelled and ribbon-twist carved frames. The padded armrest, with Vitruvian scrolls to the shaped supports, with acanthus leaves, with reeded seat-rails, above tapering fluted legs, headed by square foliate paterae and terminating toupie feet, upholsterd in a rich - [An 18th Century French, Louis XVI Period, Duchesse Brisse. Circa 1775](https://antonvenoirinteriors.com/antiques/furniture/seating/an-18th-century-french-louis-xvi-period-duchesse-brisse-circa-1775/) - The cream lacquered, shaped Bregere and footstool, with C-scrolled chanelling, within moulded serpentine shaped back and seat-rail. The shaped armrest with vitruvian scrolled supports, above 8 tapering fluted and chaneled legs, on toupie feet. Headed by flowerheads and foliate pendants upholstered in a blue silk velvet fabric. L: 140cm, D: 75cm, H: 104cm - [A Pair of 18th Century, Louis XV Fauteuils A La Reine by Jean-Baptiste Boulard. Circa 1750](https://antonvenoirinteriors.com/antiques/furniture/seating/a-pair-of-18th-century-louis-xv-fauteuils-a-la-reine-by-jean-baptiste-boulard-circa-1750/) - Each with ribbon-carved frame, padded cartouche-shaped back, scrolling arms and shaped seat, upholstered in a silk wool tapestry featuring decorative foliate, floral design, over a moulded serpentine seat-rail centrally carved with flower-heads and leafy sprays, on cabriole legs headed by twin flower-heads and pendant leaves. Stamped JB BOULARD. Louis XV period. Circa 1750 H: 92 - [A Pair Of 18th Century, Louis Xv Fauteuils 'a La Reine'. Circa 1730-1740](https://antonvenoirinteriors.com/antiques/furniture/seating/a-pair-of-18th-century-louis-xv-fauteuils-a-la-reine-circa-1730-1740/) - Each with ribbon-carved frame, padded cartouche-shaped back, scrolling arms and shaped seat, upholstered in a silk wool tapestry featuring decorative floral and urn design, over a moulded serpentine seat-rail centrally carved with flower-heads and leafy sprays, on cabriole legs headed by twin flower-heads and pendant leaves. Louis XV period. Circa 1730 - 1740 H: 92 - [An 18th Century French, Louis XV Period, Duchesse En Bateau. Circa1760](https://antonvenoirinteriors.com/antiques/furniture/seating/an-18th-century-french-louis-xv-period-duchesse-en-bateau-circa-1760/) - The cream lacquered, shaped canapé, with C-scrolled chanelling and floral cartouches, within moulded serpentine shaped back and seat-rail. The back frame with acanthus leaves carving , shaped armrest supports and seat-rails, above 8 cabriole legs, headed by flowerheads and foliate pendants upholstered in a rich blue chinoiserie silk brocade fabric. Provence: Chateau de Valençay W: - [A 19th Century Louis XV Oak 'Lit Du Jour'. Day-bed. Circa 1860](https://antonvenoirinteriors.com/antiques/furniture/seating/a-19th-century-louis-xv-oak-lit-du-jour-day-bed-circa-1860/) - Each end with S-scrolled shaped carving, with escargot scrolled ends, over a chaneled serpentine apron with scrolls, flanked by padded side rails, raised on 6 cabriolet legs, terminating with escargot scrolled feet. Upholstered in a salmon and cream silk damask fabric. Height: 114 cm; Length: 213.5 cm; Depth: 118 cm. - [An 18th Centuty, Louis XV period, Walnut, Canape en Corbeille. Circa 1745](https://antonvenoirinteriors.com/antiques/furniture/seating/an-18th-centuty-louis-xv-period-walnut-canape-en-corbeille-circa-1745/) - The C-scroll shaped floral and ribbon-carved frame, with padded cartouche-shaped back, with incised floral sprays and curved ends, continuing to down-curved acanthus scrolled arm terminals, upholstered with a loose cushion seating. All covered in a rose silk Damask fabric, above a floral spray-carved shaped apron, on cabriole legs headed by twin flowerheads and pendant leaves. - [An 18th Century Louis Xv, Ormolu-mounted, Boulle Marquetry, Cartel Clock, signed Cronier a Paris. No. 169. Circa 1760](https://antonvenoirinteriors.com/antiques/clocks/a-louis-xv-ormolu-mounted-tortoiseshell-cartel-clock-and-bracket-signed-cronier-a-paris-no-169-circa-1763/) - Antoine Cronier (b. 1732 d. after 1806), who nearly always signed his dials Cronier or Cronier à Paris. Born in Paris on 13th January 1732, he was the son of Françoise née Boulard and Charles Cronier, a maître-menuisier. In 1745 Antoine Cronier began an apprenticeship under Nicolas Pierre Thuillier and by 1753 was working independently of a guild, i.e. ouvrier libre but was received as a Parisian maître-horloger in 1763. From 1759 Cronier was established at rue Saint-Honoré, Paris, where he began to produce considerable numbers of fine clocks using cases by some of the leading bronziers including Robert and Jean-Baptiste Osmond as well as Edmé Roy, René François Morlay, Nicolas Bonnet and François Vion. He also used cases made by the ébénistes Jean-Pierre Latz and François Goyer. Crosnier enjoyed considerable patronage from leading members of society such as the maréchal de Choiseul-Stainville, the marquis de Sainte-Amaranthe, prince Belosselsky-Belozerky, the duc des Deux-Ponts and M. Sollier. Among the many prestigious collections housing examples from his oeuvre are the Musée Nissim-de-Camondo in Paris, Waddesdon Manor, Buckinghamshire, the Residenzmuseum in Munich and the Residenz Bamberg. Other collections include the Palazzo Reale in Turin, the Musées Royaux d’Art et d’Histoire Brussels, the Nationalmuseet Stockholm, the Fine Arts Museum Boston, the Huntington Collection at San Marino, California, Dalmeny House in South Queensferry and Pavlovsk Palace Saint-Petersburg. From 1759 Crosnier was established at rue Saint-Honoré, Paris, where he began to produce considerable numbers of fine clocks using cases by some of the leading bronziers including Robert and Jean-Baptiste Osmond as well as Edmé Roy, René François Morlay, Nicolas Bonnet and François Vion. He also used cases made by the ébénistes Jean-Pierre Latz and François Goyer. In addition Cronier employed the gilder Honoré Noël and supplied the tapissier Nicolas Leclerc. Philippe Jacques de Choiseul down from the House of Choiseul, a noble family from Choiseul in the Haute-Marne. This illustrious family Provided a significant number of servants in the kingdom of France, five marshals, a cardinal, two bishops, And Many statesmen. Its origin dates back to the twelfth century. Eldest son of François-Joseph de Choiseul (1696 † 1769), 2nd of the name, Marquis de Stainville, Baron de Beaupré, state councilor and grand chamberlain of the Emperor, etc. And Françoise-Louise de Bassompierre († 1758), Jacques Philippe Was Born on September June 1727 at Luneville. He Was the younger brother of Etienne François Choiseul. Jeanne Louise Françoise Desmier Archaic Saint-Simon, born May 16 1751 in Saintes and the guillotine 17 June 1794 Is a salonnière French . Daughter of Étienne-Louis Desmier Archaic, Marquis de Saint-Simon, the Pailly, Palaïseuil, Great Résie, Pressigny, Tesson born November 16, 1709, died on 17 Floreal Year VI , lieutenant general of the armies of King , Jeanne-Louise-Françoise Desmier Archaic, after youthful escapades, had been forced to marry August 24, 1771 a commoner, the DAVASSE Sieur de Saint-Amarand, son of a Receiver General Finance , which ruined the game, contracted debts and left the family home to live, it seems, in Spain. His wife had remained in Paris penniless with two children but she found a patron in the Prince de Conti. She could spend some time at the hotel Jonchères then she settled in the business district, rue Vivienne, where she had a salon. She had several affairs with gentlemen including the Vicomte de Pons said that the father of her daughter, then, having met with Mr. Joseph Aucane, trading income settlements where he had been exiled for several years debts too, she took the "Sainte-Amaranth" and transformed his room into gambling house. The family of Belosselsky-Belozersky claims the descendance directly from the first Russian Princes,[citation needed] from the "Kiev Rus" period and specifically from Prince Rurik (of Swedish roots), who created their seat in Kiev around the years 870–890. The family traces its patrimonic, father-to-son roots throughout the ruling houses of Russia until the mid 16th century, to Yuri Dolgoruky (founder of Moscow) and his grandsons who were grand-dukes/princes of Kiev as well as of Vladimir-Suzdal principality. After the ascendance of Ivan Kalita ("Moneybags") and the Romanov dynasty, the family were rulers of the Belozersk (White Lake) principality, north of Moscow. Gleb Vassilkovich was the first Belozersky prince to rule there. While on one of the required annual visits to Sarai, the headquarters of the Golden Horde (near today's Astrakhan), to renew his patent (yarlik) received from the reigning Khan and ruler of the Golden Horde Sartak Khan, allowing thus Gleb to rule and tax his lands for another year. On this visit, Gleb married Feodora, Sartak's daughter (Feodora Sartakovna) (also granddaughter of the Mongol ruler Batu Khan and great-great-granddaughter of Genghis Khan. Gleb Vassilkovich thus consolidated the power of the dominant Tatar-Mongol rulers and the Belozersky clan. The offspring of Gleb and Feodora Sartakovna, the current Belosselsky-Belozersky family, are thus descendants of Genghis Khan as well as of the founder of Russia, Prince Rurik. Subsequently, the family, after having lost the majority of its men in the historical "watershed" battle for Russia's independence, the battle of Kulikovo in 1380, against the Tatar-Mongol dominance, the few remaining Belozersky princes slowly lost the control of the lands in the Belo Ozero/Belozersk principality area (White Lake). The family was relegated thereafter to a more minor ruling role over the lands of "Belo Selo" south of Belozersk (Thus the name "Belosselsky" - of White Village) when the Moscow principality led by Moscow Romanovs were slowly taking control over all the former semi-independent principalities of Russia. After a period of lesser prominence, but still providing military and political leaders, it became a major factor in support to Peter the Great's reforms, in building the Russian navy and providing diplomats and military leaders. In early 1800 Alexander Mikhailovich Belosselsky-Belozersky, due to his significant contributions to Russia in diplomacy, science and culture, was granted the right to bear the double princely name of Belosselsky-Belozersky from Emperor Paul I, in recognition of the Belosselsky branch being the single remaining such branch of the princes having ruled Belo Ozero and being of the Belozersky dynasty. - [A Pair Of 18th Century Louis XV Provincial Gilt - Mirrors. Circa 1760](https://antonvenoirinteriors.com/antiques/mirrors/18th-century-giltwood-mirrors/) - 18th century Louis XV Provence At that time was one of the most important region to manufacture mirrors. The best known are those of Beaucaire. They are recognize by the quality carvings of their grapes, vine leaves and branches. The pediment is often a bouquet garni. This is achieveable due to the quality of the wood in the region, wood is soft and more prevalent in this region. It facilitated the work of the sculptor. Installation is also very particular to the south. It consists of a set of rails that are assembled and pegged. Another feature is the large mirror in the center is surrounded by small mirrors that are indépandants. The most beautiful Provencal mirrors have very pronounced scrolls in the four corners. The acanthus leaf is also very representative of this region. These mirrors are of excelent quality, the decor is remarkable and an example of decorative arts which held an importants in the Provencal regions of the South of France. The mecury glass and the gilding is original, an asset to their charm. - [A Louis XV/XVI Transitional Ormolu - Mounted Mahogany, Rosewood and Fruitwood Commode, by Jean- Martin Schiler. Circa 1770](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/louis-xv-transitional-commode-circa-1770/) - Louis XV / Louis XVI Commode à ressaut, en placage de bois de rose marqueté en ailes de papillon, dans des encadrements à filets et bâtons rompus, sur des contres fonds d'amarante. Elle ouvre par cinq tiroirs sur trois rangs, le premier en trois parties. Montants arrondis. Pieds cambrés. Ornements de bronze ciselé et doré à chutes à cannelures, sabots, cul de lampe et entrées de serrure. Estampille de J.M. SCHILER. Transition des époques Louis XV et Louis XVI 1770 Plateau de marbre brèche rosé gris H: 86,5 - L: 127 - P: 58 cm SCHILER (Jean Martin SCHÜLER ) reçu Maître le 27 Juin 1781 Originating from near Leipzig, Jean-Martin SCHILER like many of his contemporaries married in the Embassy of Sweden, chapel, in Paris. SCHILER established himself ébéniste at rue Saint-Nicholas and at rue Faubourg-Saint-Antoine in 1778. Despite the late date of his accession to the Master ébéniste (Maître June 27, 1781 ) his stamp appears throughout the Transition period of Louis XV and Louis XVI, including a commode with a marquetry inlaid landscape of elegantly stylised details. SCHILER created many pieces of furniture during the Louis XV period, but his main Production of the Parisian apartments was styled in Louis XVI period, with mostly mahogany furniture with well-balanced lines: commodes, secretaries, bonne-du-jour. A sale in Paris, March 14, 1955, saw the sale of a gaming table, a transformation forming backgammon, writing table and dressing table, by Jean-Martin SCHILER, collection of an antique dealer in Lausanne. A rare extension dinning table by Jean-Martin SCHILER, is today in the collection at Fontainebleau. - [An 18th Century Louis XV Period Salon a la Reine by Jean-baptiste Gourdin. Circa 1740-1745](https://antonvenoirinteriors.com/antiques/furniture/seating/18th-century-louis-xv-salon-circa-1745/) - GOURDIN: An XVIIIth century illustrious family of carpenters, the Gourdin have marked the history of seats, from the Régence to Louis XVI. There was three of them: John, the father, Jean- Baptiste, the eldest son and Michel, his brother, the Gourdin family has always been synonymous with quality. Their seats tell the story of the eighteenth century styles. At the head of three separate workshops, Gourdin had a prestigious clientele and realized the most important commands of the time. Exceptional dynasty: Jean Gourdin (c. 1690-1764): Patriarch of the dynasty, Jean Gourdin was born around 1690, probably in Paris. After gaining his master's in 1714, he married Marie-Madeleine Collet, herself from a family of carpenters. By this time, Jean Gourdin opened a shop in the Clery street, in the neighborhood of Bonne-Nouvelle, and hired companions and workers. In 1732 he inherited the shop from his father-in law, Jean Collet, which allowed him to develop his workshop and permanently associate his name at 36 rue de Clery. Then he bought the second part of the store to his wife's family in 1743. He had four children, two girls. Marie-Anne, the eldest, born in 1719 and married in 1745 with Jean Avisse, renowned carpenter and son of Louis Avisse, the king gardener at Versailles. Marie Anne and Jean Avisse had six children, one son, Claude, who became carpenter in the Faubourg Saint -Honoré. Marie-Madeleine, the youngest of the family, was born in 1741 and married in 1761 Jean- Charles Allard, master upholsterer and dealer in Rue Dauphine. Jean Baptiste Gourdin (v.1723 - 1781) : Jean-Baptiste was born around 1723. From 1736 to 1741, unlike the craftsmen of the eighteenth century, he did not performed his apprenticeship with a master carpenter, but with a master sculptor named Toussaint Foliot. Thereafter, he returned to work in his father's workshop from 1741 to 1746. Before completing his training, he was admitted into the community of carpenters in 1747, due to his apprenticeship in his father’s workshop as well as its experience with Toussaint Foliot. He married in 1746 Marie- Françoise Ferret, daughter of master carpenter Claude Ferret. Soon, Jean-Baptiste inherited his father’s in law shop, also located rue de Clery. He opened his own workshop and hired apprentices, before buying the whole house in 1761. He had a daughter, Marie- Françoise Sophie. He ceased its activity in 1776 and died in 1781. Michel Gourdin (v.1724 - 1797): Michel was born around 1724 and became a master in 1752. He married Marie- Anne Masson in 1757 and had no children. He lived too Rue de Clery. Three independent workshops: Each member of the Gourdin family was at the head of his own studio and none of the three son took over the father’s shop. However, their family relationships were the basis of the professional network of each of them. Moreover, it should be noted that Jean -Baptiste considerably developed the workshop of his father- in law, Claude Ferret, inventory indicating no less than 16 benches. In 1771, its stock of wood was as important as a huge workshop such as Tilliard. Jean- Baptiste Gourdin realized indeed many orders throughout his career. The Stamps: Jean used two stamps. The first, the initials " IG " was used before a new rule issued in 1743 ( but lasted on some models). The second, " FATHER GOURDIN " appeared from 1748. - Jean- Baptiste used the stamp " I.GOURDIN ." - Michel, used the stamp "M.GOURDIN ." Major clients: Jean Gourdin received large orders from individuals, but also participated in prestigious projects. Amoung them, an order for the house of the Duchess of Mazarin (rue de Varennes) and the Château d’Asnières, which was purchased in 1750 by the Marquis de Voyer, great military and Marshal of the king Armies, in charge of Her Majesty stud farm. Castles Montgeoffroy (Anjou ) , Thoiry (Yvelines) and Conde ( Brie ) , also have many pieces of Jean Gourdin. Jean- Baptiste worked for a more eclectic clientele than his father, including many financial customers in Europe. He worked for prestigious clients such as the Marquis de Bellevaux, Claude II Bonnay and very regularly for the Prince de Soubise, Duc de Rohan. But his most famous client was the Dauphine Marie- Antoinette during its move to the court. Michel Gourdin, meanwhile, worked for Marie -Josephe de Saxe, mother of the future Louis XVI. He also made furniture for Maréchal de Contades , the Duchess de Charost and the Marquis de Poyanne . Style : Between them, the Gourdin crossed styles: Regence, Rocaille, Louis XV, Transition, and Louis XVI. Jean produced the most luxurious models. He began his career with the Regency (1715-1730), and developed a richer and more exuberant style during the rocaille (from 1730 to 1745). He reached the peak integrating Rocaille ornaments to Louis XV shapes. Dated to 1740-1750, the seats are well-structured, with large welcoming wood rich sculpture. From 1750-1760, he realized seats Louis XV classic style, with more curved lines and a minimalist decor, composed of florets (especially wild roses), and most of which lay in the game moldings and ribs punctuating the chair. This sobriety, mixed with a perfect harmony of lines, was typical of a desire to return to classicism, characteristic of this time. Jean- Baptiste, meanwhile, had an extremely prolific production. Early in his career, he was influenced by his father and realized with great mastery chairs regency, Rocaille and Louis XV. Around 1760-1770, he developed a more personal style by changing floral ornaments in the Transition style, before making Louis XVI styles. The beginnings of Michel where meanwhile marked by the classic Louis XV style, but the Transition style quickly established himself in his work. He also created many highly refined models, only molded and influenced by the neoclassical breath. In the 1770s, he made very simple and classic Louis XVI chairs. Dynasty Gourdin has truly crossed styles and dominated the seat market in the eighteenth century, realizing the most important commands of his time. Famous carpenters of the Clery’s street, their seats were sought after by the most prestigious clients. The Gourdin name alone has become the emblem of quality seat of the eighteenth century. - [A Pair of Louis XV Fauteuils A La Reine by N. Blanchard, Sm. Circa 1740-1745](https://antonvenoirinteriors.com/antiques/furniture/seating/a-pair-of-18th-century-louis-xv-fauteuils-a-la-reine/) - BLANCHARD DYNASTY: BLANCHARD Sylvain-Nicolas Sylvain-Nicolas Blanchard (1725 - circa 1770) - menuisier in chairs, obtained the mastery at the age of eighteen, on 17 August 1743. He opened a shop near the Porte Saint-Denis under the sign of "White cat". The works signed by him are very rare. Stamp of Sylvain-Nicolas Blanchard Nicolas Blanchard's eldest son, Sylvain Nicolas was born in 1725 and obtained his master's letters on August 17, 1743, at the age of eighteen. He settled near his father's studio in the rue de Cléry, under the sign of the "Chat blanc". The classic Louis XV style seats he signed seem few in number, but elegant and of very good quality. The sculptures and decorations of small flowers and foliage are of great finesse. At the emergence of neoclassicism, in the last years of his activity, he produced a few seats of Transition style, but less good workmanship than his previous works. At his death, his younger brother, Jean Nicolas, will resume his studio. BIBLIOGRAPHY The French Furniture of the XVIIIth Century - Pierre Kjellberg - The Editions of the Amateur - 2002 18th century cabinetmakers - Count Francois de Salverte - Editions of Art and History - 1934 The Art and the Way of the French Master Cabinetmakers in the 18th Century - Jean Nicolay - Pygmalion Edition - 1976 BLANCHARD Nicolas Nicolas Blanchard - Master in Paris in 1738. Stamp of Nicolas Blanchard Blanchard Nicolas - Armchairs Pair of armchairs stamped Blanchard - Louis XV period - Galerie Gilles Linossier © Anticstore Nicolas Blanchard, born from a family of carpenters, and father of the famous Jean Nicolas. Received master in 1738, he settled in rue de Cléry where he is still mentioned as a carpenter in 1750. The seats bearing his stamp are all Louis XV style walnut and decorated with rockeries. His two sons, Sylvain Nicolas and Jean Nicolas, will continue the same activity as their father. Its stamp is without initial of first name. Museum Pair of chairs cabriolet, Two Louis XV chairs carved and lacquered covered with wool velvet striped yellow and blue - N ° MAD1128 - Museum of Decorative Arts - Lyon BIBLIOGRAPHY The French Furniture of the XVIIIth Century - Pierre Kjellberg - The Editions of the Amateur - 2002 18th century cabinetmakers - Count Francois de Salverte - Editions of Art and History - 1934 BLANCHARD Jean-Nicolas Jean-Nicolas Blanchard (1730-1787), says the Younger. Master on June 12, 1771. Stamp of Jean-Nicolas Blanchard Blanchard - armchair Bergère to the Queen, Paris circa 1771-1775. J.-N. Blanchard, carpenter. Beech carved and gilt, damask green and gold. Louvre Museum. © AnticStore Jean-Nicolas Blanchard said "the young man" was received at his master's degree in 1771 and took over the workshop of his brother Sylvain, on the death of the latter, located in the rue de Cléry under the sign of "Chat blanc". He became one of the suppliers of the Château de Versailles and quickly acquired a very high reputation. He has produced large Louis XV armchairs, Transition chairs and Louis XVI armchairs, which are more classical, but all of them are of fine quality, with noble lines and a perfect finish. He adorned his works with sculptures of roses, foliage, flowery garlands, knots of ribbons and acanthus, sculptures of extreme finesse without ever the slightest overload. He also worked for many famous upholsterers like the Presle brothers. It ceased its activities some time before the Revolution, but it is still mentioned under the Directory. MUSEUMS Duchess Brisee Louis XV - Museum Carnavalet Bergère Louis XV to the Queen - Musée du Louvre Transition armchair - Musée Lambinet - Versailles Very large sofa with confidences Louis XVI - Calouste Gulbenkian - Lisbon BIBLIOGRAPHY The French Furniture of the XVIIIth Century - Pierre Kjellberg - The Editions of the Amateur - 2008 18th century cabinetmakers - Count Francois de Salverte - Editions of Art and History - 1934 - [An 18th Century Louis XV Period Buffet Deux- Corps, Val De Loire. Circa 1765](https://antonvenoirinteriors.com/antiques/furniture/armoires/18th-century-louis-xv-buffet-circa-1770/) - Made of solid oak, the oregin of this buffet is attested by the presence of the shaped cornice and elegant carvings, traditional of the Loire Valley. The shaped cornice, above a pediment decorated with fine outsized carvings, The four doors with richly carved C-scrolled panels with 3 central drawers and shaped apron. The center panels - [A Louis XV Buffet Deux Corps De Mariage, Normandy 19th Century. Circa 1810](https://antonvenoirinteriors.com/antiques/furniture/buffet/louis-xv-buffet-deux-corps/) - Made of solid oak, the oregin of this buffet is attested by the presence of the shaped cornice, traditional of Normandy. The shaped cornice, decorated with fine carvings of C scrolled foliate motifs, above a richly carved outsized bouquet of Spring flowers and seasonal fruit, traditionally symbolic of marriage. The four doors and shaped apron, - [A Louis XV Ormolu - Mounted, Kingwood and Bois Satine, Marquetry Bureau a Gradin. Attributed to Theodore Millet. Circa 1880](https://antonvenoirinteriors.com/antiques/furniture/bureau-desks/louis-xv-bureau-plat/) - THEODORE MILLET (c.1853-c.1904) Maison Millet was a renowned 19th century furniture atelier that was described as producing Antique furniture and bronze art, specializing in the Louis XV and XVI styles. The company won several awards in a series of exhibitions in London and Paris, such as the gold medal in the 1889 Paris Exposition Universelle, a Grand Prix in 1900 and three further diplomes d'honneur and four médailles d'or for the furniture they produced. In March 1902, the firm was authorized by the Palace of Versailles to replicate Marie-Antoinette's celebrated Grand cabinet à bijoux. - [A Pair Of Louis XV Boulle Candelabrum](https://antonvenoirinteriors.com/antiques/decorative-arts/candelabras/a-pair-of-louis-xv-boulle-candelabrum-2/) - [An 18th Century, Louis XVI Giltwood Canape en Corbeille. Circa 1774](https://antonvenoirinteriors.com/antiques/furniture/seating/18th-century-louis-xvi-canape-circa-1774/) - The shaped leaf-and-berry beaded frame with incised seasoned fruit and floral spray cresting and curved ends, continuing to down-curved part padded acanthus scrolled arm terminals, upholstered with loose cushion seating. All covered in a blue cotton - silk, above a floral spray-carved shaped apron, on tapering turned fluted acanthus legs, headed by rosettes. 78½ in, - [An 18th Century Louis XV/XVI Transitional Ormolu - Mounted Mahogany, Rosewood and Kingwood Commode, by Etienne Avril. Circa 1770](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/an-18th-century-louis-xv-period-arc-en-arbalete-giltwood-console-table-circa-1740-3/) - The Gris, Saint Anne marble top above two drawers long breakfront shaped drawers with butterfly wing amaranth marquetry, gilt-bronze mounts, in the form of wreaths, ribbon ties, oak leaves and acorns, on cabriole legs terminating in cast paw sabots, stamped ETIENNE AVRIL Etienne APRIL was received Maître ébéniste (Master ebeniste ) on November 23, 1774 H: 86 - [An 18th Century Louis XV Walnut Armoire, de Bresse Bourguignonne. Circa 1745](https://antonvenoirinteriors.com/antiques/furniture/armoires/louis-xv-walnut-armoire-circa-1745/) - Made of solid walnut, the oregin of this Armoire is attested by the elegant carving and shaped cornice, traditional of BRESSE (Dijon, Burgundy) region. The shaped cornice, above a decorated pediment of finely carved outsized Spring flowers and foliate grape vine motifs, traditional to the region. The two doors each with C scrolled carved panels, - [A Louis XV Period, Cotes Galbee en Palacage de Bois de Rose, Gilt Bronze- Mounted Commode. Circa 1740-1745](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/a-louis-xv-period-cotes-galbee-en-palacage-de-bois-de-rose-gilt-bronze-mounted-commode-circa-1740-1745/) - Le cotes galbes facede, Rose wood marquetry and marble topped commode. A shaped white grey and rouge royal marble top, with rounded corners and moulded edge, above two shaped single draws, with centred secret draw, above a convex long and a further long draw flanked by pierced leaf foliate-cast handles, the angles with roccoco clasps, - [A Louis XIV Giltwood Fauteuil. 19th Century. Circa 1860](https://antonvenoirinteriors.com/antiques/furniture/seating/a-louis-xiv-giltwood-fauteuil/) - The rectangular back with arched top and seat, upholstered in close nail, with foliate patterned blue cut silk Damask fabric. The moulded uprights carved with foliage, the shaped arms decorated with shells, husks and acanthus, the arm’ supports decorated with foliage and gadroons, the seatrail centred with a cartouche flanked by foliage and garlands of - [A French 19th Century Louis XV Ormolu Mounted Kingwood, Rosewood and Mahogany Bureau Plat. Circa 1860](https://antonvenoirinteriors.com/antiques/furniture/bureau-desks/louis-xv-bureau-plat-2/) - The French oak frame and interior, are of Parisian works of the 19th century. The rectangular top with inseted tooled leather surface within an ormolu moulded border applied leaf pattern corners, with three long and three false drawers to the frieze, fitted with two side pull tooled leather writting surfaces. Robust and impressive ormolu handles - [An 18th Century, Louis XV Period Provincial Walnut Bombe Commode. Bordeaux. Circa 1745](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/18th-century-louis-xv-commode-circa-1745/) - The serpentine moulded shaped top above two short shaped drawers with a centred secret drawer and two panelled long drawers carved with C-scroll ornament, With gilt bronze foliate handles and escutcheons, above a conforming wave shaped apron. With panelled angles and moulded panelled sides, on scrolled cabriole feet. H: 82 cm W: 123 cm D: 63.5 cm - [An 18th Century Louis XV Period, Côtés Galbée en Placage de Kingwood, Bois Satiné, Gilt Bronze - Mounted Commode. Circa 1745](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/louis-xv-commode-1745/) - Le cotes galbes facede, bois satiné Kingwood & rosewood marquetry and marble topped commode. A shaped Bec de Corbin marble top, with rounded corners and moulded edge, above two shaped single draws, with centred secret draw, above a convex long and a further long draw flanked by pierced leaf foliate-cast handles, the angles with roccoco - [An 18th Century Louis XV Ormolu Mounted Kingwood and Bois Satine Commode, by Francoise Faizelot, Jean Louis Faizelot Delorme. Circa 1743 - 1750](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/18th-century-louis-xv-commode-circa-1743/) - Faizelot Delorme (b Paris, c. 1715-20; d after 1783). French cabinetmakers and dealers. Were on of the most famous familes of cabinetmakers; father, Francois Faizelot Delorme (1691-1768), and brothers Jean-Louis Faizelot Delorme, Alexis Faizelot Delorme and Adrien Delorme were all maitres-ebenistes. Adrien became a maitre-ebeniste on 22 June 1748 and was a juror of his guild from 1768 to 1770. Jean Louis Faizelot Delorme became maitre ebeniste in 1763. They made and sold luxury furniture throughout the 18th century in the Regence and Louis XV style, decorated with japanning either in imitation of Chinese lacquer (e.g. Amsterdam, Rijksmus.) or with European decoration (e.g. Waddesdon Manor, Bucks, NT). He also carried out sumptuous floral marquetry (e.g. Paris, Petit Pal.). His most distinguished work consisted of small pieces of furniture (e.g. Paris, Louvre; London, V&A; Washington, DC, Hillwood Mus.) embellished with floral marquetry or inlays of scrolls and foliation executed in end-grain wood on a dark-veined, light-wood ground forming a chevron pattern (e.g. Lyon, Mus. B.-A.). Louis XV Commode tombeau en bois de placage, XVIIIe siècle elle ouvre par cinq tiroirs sur trois rangs à traverse apparente, les montants galbés, la ceinture à cul de lampe, les pieds galbés. Ornements de bronze à décor rocaille tels entrées de serrure, poignées, chutes à espagnolette, cul de lampe et sabots. Plateau de marbre rouge royal. époque Louis XV. Estampille de Jean Louis Faizelot Delorme Maître en 1763 H. 87 cm, L. 130 cm, Pr. 61 cm, On August 20, 1751 the French parliament voted for the constitution of the Jurande. (translation Cabinet Makers & Carpenters)) would be added once a committee, made up of elected guild members who inspected the workshops four times a year, had approved the quality. Any furniture that failed to meet the required standards of craftsmanship was confiscated. The Corporation des Menuisiers was divided into two distinct trades, that of the woodworkers who made paneling (boiserie) for buildings and coaches, and that of the actual furniture makers. The latter can be subdivided intomenuisiers (joiners), responsible for the making of solid wood furniture such as console tables, beds, and chairs, and the ébénistes, from the word ébéne (ebony), makers of veneered case pieces. - [A Napoleon Iii Ormolu- Mounted Boulle Marquetry Bureau Plat. Attributed to Befort. Jeune 1848](https://antonvenoirinteriors.com/antiques/furniture/bureau-desks/napoleon-iii-boulle-bureau-plat-1848/) - Mathieu Befort Jeune. (1813-1880) stamped his work Befort Jeune was the son of Jean-Baptiste Befort, who was of Belgian origin and renowned for having supplied furniture for the apartments of the Duc d'Orléans. He was established at numbers 1 and 6 rue Neuve-Saint-Gilles in Paris from 1844 to 1880. As a gifted ébèniste-marqueteur he specialized in Boulle marquetry and in particular extremely high quality work inspired by the work of André-Charles-Boulle himself. DIONYSUS In Greek mythology, Dionysus is presented as a son of Zeus and the mortal Semele, Malthus semi-divine or heroic: Dionysus the god of the grape harvest, winemaking, wine, pleasure and festivity. His festivals were the driving forces behind the development of Greek theater. The festival for Dionysus is in the Spring when the leaves begin to reappear on the vine. It Became one of the most important events of the year. It's focus became the theater. Most of the great greek plays Were initially written to be performed at the feast of Dionysus. All who took part, writers, actors, spectators, were regarded as sacred servants falling of Dionysus. Either He Was Depicted as an older bearded god or a pretty effeminate, long-haired youth. His attributes included the thyrsos (a pine-cone tipped staff), drinking cup, leopard and fruiting vine. He Was Usually Accompanied by a troop of goat-footed Satyrs and Mainades (female devotees or nymphs Have you danced energetically falling on His festivals). PROVENCE: TABLE DE MILIEU de forme mouvementée en bois noirci marqueté toutes faces d'écaille brune et de cuivre dans le goût de Boulle. Belle ornementation de bronzes dorés: ceinture, écoinçons, chutes, sabots à décor iconographique du XVIIIème. Elle ouvre à deux tiroirs en façade. Le plateau dissimule un dessus de cuir gaufré, et se retourne pour présenter un décor de filets et de cuir ouvragé. Cette table de milieu fait donc office de table de salon, table à jeu et bureau. Style Louis XV-Régence. Époque Napoléon III. Haut. 81 cm, Long. 121 cm, Prof. 67 cm. Château de Cheverny: The Château de Cheverny is Located at Cheverny, in the department of Loir-et-Cher in the Loire Valley in France The Château de Cheverny is a stately estate and has-been in the same family for more than six centuries. The lands were purchased by Huraults Henri, Comte de Cheverny, a lieutenant-general and military treasurer for Louis XI, whose ancestor the Marquis de Vibraye is the present owner. Lost to the Crown because of fraud to the State, it was donated by King Henry II to his mistress Diane de Poitiers. However, she preferred Château de Chenonceau and sold the property to the form owner's son Philippe Huraults, who built the Chateau between 1624 and 1630 to designs by the sculptor -architect of Blois, Jacques Bougier, who was trained in the workshop of Solomon Brush, and whose design at Cheverny Recalls features of the Palais du Luxembourg. The interiors were completed by the daughter of Henri and Marguerite Huraults, Marquise de Montglas, by 1650, employing craftsmen from Blois. Henri IV Burdette Martin played a key role in the construction. - [A French Louis XVI Giltwood Salon Suite, En Corbeille. 19th Century. Circa 1860](https://antonvenoirinteriors.com/antiques/furniture/seating/louis-xvi-giltwood-salon-suite/) - Comprising four fauteuils and a canapé en corbeille, the channelled ribbon-berry carved frames centred to a foliate and acanthus spray cartouche, the padded armrest, on Vitruvian scroll shaped supports with acanthus leaves, with reeded and leaf-and-berry seat-rails, above tapering fluted legs, headed by square foliate paterae and terminating toupee feet, upholsterd in a rich silk brocade - [A French Louis XV Kingwood and Bois Satinee Marquetry Gueridon, 19th Century. Circa 1860](https://antonvenoirinteriors.com/antiques/furniture/tables/louis-xv-kingwood-gueridon/) - Founded in 1860, the Chambre Syndicale de L'Ameublement, Paris was the first professional organization of furniture created in France In Faubourg Saint Antoine in Paris, included all furniture art professionals, both, manufacturers and traders. Over the years, it has Specialized Became structure to help and assist traders in Developing and carrying out Their activities in Accordance with the changing laws. The Chambre Syndicale L'Ameublement, Paris and Its immediate surroundings was created in 1860, bringing together the best retail furnishers of the area of Ile de France. The Association is affiliated with the National Federation Furnishing and is one of the Most Important parts of this organization in France. - [A Chinese Export Black - and - Gilt Lacquered Cabinet Shanxi Provence, China 19th. Circa 1850](https://antonvenoirinteriors.com/antiques/furniture/armoires/a-chinese-export-black-and-gilt-lacquered-cabinet-shanxi-provence-china-19th-c1850/) - The rectangular case of Black Lacquered Northern Chinese Elmwood, with a pair of doors, decorated with a continuous landscape scene of mountains, pagodas and lagoons, within stylized floral vinery borders, over an apron featuring two dragons playing with a 'huoh chuh' fire pearl in a border of geometric symbols, on square molded legs joined by stretchers. In Chinese culture, - [A Louis XV Ormolu - Mounted Amaranth, Tulipwood and Kingwood, Marquetry Secretaire a Abattant](https://antonvenoirinteriors.com/antiques/furniture/bureau-desks/a-louis-xv-secretaire/) - The shaped brèche violette marble top over a bombé form case inlaid with birds within in floral sprays, a fall-front opening to a tan leather writing surface, with shelves, six shaped small drawers and concealing a coffre fort, above two doors conformingly inlaid, enclosing a fitted interior, the angles with roccoco clasps, above a shaped apron centred by a pierced foliate cartouche, on - [A Rare Gilt-lacquered Wood Carved Seated Figure of Guanyin Qing Dynasty, 18th Century](https://antonvenoirinteriors.com/antiques/decorative-arts/sculptures/wood-carved-seated-figure-of-guanyin/) - About This Sculpture This wooden sculpture depicts the Buddhist figure Guanyin, an enlightened being called a bodhisattva. Bodhisattvas sacrifficed entering paradise in order to help mortals attain enlightenment. A tiny sculpture of the Amitabha Buddha—the Buddha of the Western Paradise—in the figure's headdress identifies it as Guanyin. In a Buddhist temple, a sculpture like this one often sits to the side of a central sculpture of Buddha, usually with another bodhisattva flanking the other side. Guanyin, the most beloved bodhisattva in China, is the embodiment of compassion. Guanyin can appear in many different forms, taking whichever one a devotee might especially need at the moment: male or female, gentle or wrathful, rich or poor. Local tales about the enlightened being inspired imaginative figures such as Water-Moon Guanyin, White-Robed Guanyin, Child-Giving Guanyin, Fish Basket Guanyin, and Thousand-Armed and Thousand-Eyed Guanyin. This sculpture portrays the "Guanyin seated on a rocky cliff overlooking the sea in a posture known as "pensive pose" ( Maitreya ) One leg hangs down while the other is crossed, the left arm elegantly supporting the left leg. The full-moon face, downcast eyes, perfectly arched eyebrows, delicate nose, and small mouth reflect a sense of calm and elegance. A long scarf drapes over the shoulders, and intricate jewelry, including a headdress, necklaces, and arm bracelets, decorates the figure. The hole in the forehead, which once held a precious jewel, symbolizes Guanyin's ray of light that illuminates the world. Traces of pigment and gold leaf testify. This sculpture of a bodhisattva, or enlightened being, probably represents the Buddha of the Future, 'Maitreya' waiting to be reborn into the world as a Buddha. Maitreya waits in heaven meditating beneath a Dragon Tree, which Chinese sculptors typically interpreted to be a ginkgo. - [An 18th Century Louis XV/XVI Transitional Period, Giltwood Mirror. Circa 1770](https://antonvenoirinteriors.com/antiques/mirrors/an-18th-century-louis-xvxvi-transitional-period-giltwood-mirror-circa-1770/) - 18th Century Louis XV - Louis XVI period Provence: At that time was one of the most important region to manufacture mirrors. The best known are those of Beaucaire. They recognize their grapes, vine leaves and branches. The pediment is often a bouquet garni. This is achievable due to the quality of the wood in the region, the wood is soft and more prevalent in this region. It facilitates the work of the sculptor. Construction is also very particular to the south. It consists of a set of rails that are assembled and pegged. The most beautiful Provencal mirrors have very pronounced four corners scrolls. The acanthus leaf is also very representative of this region. This mirror is of excellent quality, the decor is remarkable and an example of decorative arts which held an importants in the Provencal regions of the South of France. Its gilding is original, an asset to its charm. - [An 18th Century Louis XV Period, Giltwood Mirror. Circa 1750](https://antonvenoirinteriors.com/antiques/mirrors/an-18th-century-louis-xv-period-giltwood-mirror-circa-1750-2/) - 18th century Louis XV period Provence: At that time was one of the most important region to manufacture mirrors. The best known are those of Beaucaire. They recognize their grapes , vine leaves and branches. The pediment is often a bouquet garni. This is achievable due to the quality of the wood in the region, the wood is soft and more prevalent in this region. It facilitates the work of the sculptor. Construction is also very particular to the south. It consists of a set of rails that are assembled and pegged. The most beautiful Provencal mirrors have very pronounced four corners scrolls. The acanthus leaf is also very representative of this region. This mirror is of excellent quality, the decor is remarkable and an example of decorative arts which held an importants in the Provencal regions of the South of France. Its gilding is original, an asset to its charm. - [A Regence Giltwood Mirror - 18th Century. Circa1720](https://antonvenoirinteriors.com/antiques/mirrors/18th-century-giltwood-mirror/) - The divided arched plate within a frame decorated with C-scrolls, foliage and shell-motif 123 cm. high x 78 cm. wide - [An Early 18th Century, Regence Giltwood Mirror. Circa 1720](https://antonvenoirinteriors.com/antiques/mirrors/18th-century-giltwood-mirror-circa-1720/) - The shaped rectangular plate within a pierced mirrored surround carved ornately and decorated with foliate leaves, rose garlands and rocaille, all around its frame, surmounted by a pierced C-scroll cartouche, decorated with beautiful foliage, the apron with a C-scrolled rose bouquet, on scrolled corner supports. Provençial works of the 18th century, Southern France. Circa 1720 - [A Grand 18th Century Louis XV Period, Giltwood Parcloses Mirror. Circa 1745](https://antonvenoirinteriors.com/antiques/mirrors/a-grand-18th-century-louis-xv-period-giltwood-parcloses-mirror-circa-1745-2/) - Venetian masters invented a flat mirror technique where they would attach tin to a flat glass surface. TheVenitian masters also created a special reflective mixture in which gold and bronze was added. Because of this "magical" mixture all objects reflecting in the mirrors looked much more beautiful than in reality. Venice and the Veneto were famous for making their grand and extravagant Rococo mirrors, amongst the best quality and most expensive in Europe.Their interiors were very rich in style. The cost of one Venetian mirror then was comparable to the cost of the large naval ship. - [An 18th Century Louis XV Provincial Giltwood Mirror. Circa 1760](https://antonvenoirinteriors.com/antiques/mirrors/an-18th-century-louis-xv-provincial-giltwood-mirror-circa-1760-2/) - 18th century Louis XV Provence: At that time was one of the most important region to manufacture mirrors. The best known are those of Beaucaire. They are recognize by the quality carvings of their grapes, vine leaves and branches. The pediment is often a bouquet garni. This is achieveable due to the quality of the wood in the region, wood is soft and more prevalent in this region. It facilitated the work of the sculptor. Installation is also very particular to the south. It consists of a set of rails that are assembled and pegged. Another feature is the large mirror in the center is surrounded by small mirrors that are indépandants. The most beautiful Provencal mirrors have very pronounced scrolls in the four corners. The acanthus leaf is also very representative of this region. These mirrors are of excelent quality, the decor is remarkable and an example of decorative arts which held an importants in the Provencal regions of the South of France. The mecury glass and the gilding is original, an asset to their charm. - [An 18th Century Louis XV Period, Giltwood Provincial Mirror. Circa 1745](https://antonvenoirinteriors.com/antiques/mirrors/18th-century-louis-xv-giltwood-mirror-circa-1745/) - The square shaped plate within a pierced green painted surround carved ornately and decorated with leaves, rose garlands and rocaille, all around its frame, surmounted by a pierced C-scroll cartouche centred by bouquet, decorated with beautiful foliage and flowers, the apron centred with a rocaille , on scrolled supports. Provençial works of the 18th century, - [Alter Table / Console](https://antonvenoirinteriors.com/antiques/furniture/consoles/alter-table-console/) - [An 18th Century Louis XV Ormolu Mounted Kingwood and Bois Satine Serpentine Commode. Circa 1735](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/18th-century-louis-xv-commode-circa-1735/) - The shaped Plateau Rouge Royal marble top above two shaped single drawers and a further two sepentine shaped long draws on three rows, visible, decorated in Kingwood and bois satine cross-band, papillon ( butterfly wing ) marquetry, with thin ribbon entwined fleur-de-lis borders, with gilt bronze piereced foliate angle mounts and foliate-wrapped splayed feet ornaments, - [A Louis XIV Giltwood Salon Suite. Circa 1840](https://antonvenoirinteriors.com/antiques/furniture/seating/louis-xiv-giltwood-salon-suite/) - The canape and 2 fauteuils, with rectangular back and arched top, upholstered in close nail, with a Claret silk velvet fabric. The moulded upright arm' supports, carved with foliage, shells, husks and acanthus, the shaped arms decorated with foliage, garlands of flowers and acanthus leaves, the carved arm supports decorated with foliage and gadroons, on carved legs - [A Louis XV Giltwood Console Table, 19th Century. Circa 1840](https://antonvenoirinteriors.com/antiques/furniture/consoles/a-louis-xv-giltwood-console-table/) - The green Verde Antico, moulded, serpentine shaped marble top above a symmetrical pierced foliate and acanthus-carved frieze, with flower heads and a central cartouche, flanked by Vitrunian scrolls and foliate sprays. On conforming C-scrolled hipped cabriole legs, headed with flower heads, joined by a conforming Vitruvian scrolled, foliate carved stretcher centred by a foliage and - [An 18th Century, Regence Period, Ormolu-Mounted, Arc-En-Arbalète "Bois de Violette" (Kingwood) Parquetry Commode, attributed to Etienne Doirat. Circa 1725](https://antonvenoirinteriors.com/antiques/furniture/commodes-chest/an-18th-century-regence-period-ormolu-mounted-kingwood-and-violetwood-marquetry-commode-circa-1720/) - ETIENNE DOIRAT (1675-1732) Etienne Doirat (1675-1732). Became a maître-èbèniste in Paris c. 1700. He is recorded in the Grand-Rue du Faubourg Saint-Antoine at the time of his marriage in 1704 which he managed himself. In 1726 he set up his workshop in the Cour de la Contrescarpe des Fossées de la Bastille, and in 1731 leased a store in the fashionable rue Saint-Honoré, one of Paris' foremost addresses for luxury retailers, which he placed under the direction of his son-in-law Louis-Simon Painsun (1700 - 1748), who used the mark L.S.P. Doirat's period of activity coincided with the evolution of the Louis XV style, and most of his works are a combination of this and other earlier styles. Although some of his furniture derives its form from furniture by Andrè Charles Boulle, in general it reflects the influence of Gilles-Marie Oppendord, A. Vassè (1681-1736) and Nicolas Pineau. In particular, Pineau's influence can be seen in the composition of the central cartouche on some commodes (e.g. of 1725-30; Malibu, CA, Getty Mus.) or the indentation used in place of the apron (ex-Lady Dudley col. London). Doirat was one of the first cabinetmakers to divide the commode (e.g. Fulda, Schloss Fasanerie) into three rows of drawers of unequal size, with the first reduced to a frieze and fitted side doors. Interestingly, Doirat is the only important ébéniste of the Regence period, who stamped a good number of pieces he produced. This allows a firm basis for attribution of his production. It is further known that Doirat retained exclusive use of his models for gilt-bronze mounts. The inventory following his death in 1732, published by J.-D. Augarde, 'IE. Doirat, Menuisier en ébène', The J. Paul Getty Museum Journal, Vol. XIII, 1985, pp. 33-52, reveals the diversity of his production, including not only commodes but also bureaux plats, bookcases, night-tables and encoignures. That inventory further mentions: '100 livres pesant de modèles de plomb imparfaits servant aux garnitures tant pour commodes que pour autres ouvrages'. France took the reins of high furniture making during the 18th century, setting precedence throughout the world in both style and craftsmanship. In terms of its construction and design, this commode features all of the characteristics of the great Régence furniture of the era, from the smooth curvature of its shape to the nature-inspired Rocaille decoration of its doré bronze fixtures. Crafted by a master, the commode is accentuated by its fine Royale Rouge marble top, which serves as the perfect complement to the trademark reddish color of the violet wood. - [A Pair of Napoleon Iii Ormolu-mounted Boulle Marquetry Pier Cabinets. Circa 1860](https://antonvenoirinteriors.com/antiques/furniture/buffet/a-pair-of-napoleon-iii-ormolu-mounted-boulle-marquetry-pier-cabinets-circa-1870/) - DIONYSUS In Greek mythology, Dionysus is presented as a son of Zeus and the mortal Semele, Malthus semi-divine or heroic: Dionysus the god of the grape harvest, winemaking, wine, pleasure and festivity. His festivals were the driving forces behind the development of Greek theater. The festival for Dionysus is in the Spring when the leaves begin to reappear on the vine. It Became one of the most important events of the year. It's focus became the theater. Most of the great greek plays Were initially written to be performed at the feast of Dionysus. All who took part, writers, actors, spectators, were regarded as sacred servants falling of Dionysus. Either He Was Depicted as an older bearded god or a pretty effeminate, long-haired youth. His attributes included the thyrsos (a pine-cone tipped staff), drinking cup, leopard and fruiting vine. He Was Usually Accompanied by a troop of goat-footed Satyrs and Mainades (female devotees or nymphs Have you danced energetically falling on His festivals). - [A Regence Oak, Giltwood Torchere, 19th Century](https://antonvenoirinteriors.com/antiques/decorative-arts/sculptures/a-regence-oak-giltwood-torchere-late-19th-century/) - The gardrooned-carved circular top, above a faceted tapering acanthus carved stem, with hatched panels, carved flowerheads, scrolls, acanthus leaves and shells and a pierced tripod base, with leaf-wrapped vitruvian scrolled supports, with harebell garlands on a bold scrolling tripod base 151 cm.high 61 cm. wide - [A Pair of 18th Century Louis XV Provincial Fauteuils a La Reine. Circa 1730](https://antonvenoirinteriors.com/antiques/furniture/seating/a-pair-of-18th-century-louis-xv-provincial-fauteuils-a-la-reine-circa-1745/) - The oak armchairs, each with ribbon-carved frames, padded cartouche-shaped back, with a centrally carved rococo shell and leafy spay motif, scrolling arms and shaped seat covered in gold silk velvet upholstery, over a molded serpentine seatrail centrally carved with rococo shell motif and leafy sprays, on cabriole legs headed by a carved rococo shell and - [An 18th Century, Louis XV Period, Arc-En-Arbalète Giltwood Console Table. Circa 1740 - 1750](https://antonvenoirinteriors.com/antiques/furniture/consoles/an-18th-century-louis-xv-period-arc-en-arbalete-giltwood-console-table-circa-1740-1750/) - The mouluré d' un bec de corbin, arc-en-arbalète-fronted ( Crossbow Shape ) marble top with moulded edge, above an asymmetrical pierced foliate and acanthus-carved frieze, with a central cartouche, flanked by C-scrolls and foliate sprays. On four, conforming C-scrolled, hipped cabriole legs, headed with foliate scrolls. The centre joined by a conforming scrolled, foliate carved stretcher - [An 18th Century, Louis XV period Arc-En-Arbalète, Giltwood Console Table. Circa 1740-1745](https://antonvenoirinteriors.com/antiques/furniture/tables/an-18th-century-louis-xv-period-arc-en-arbalete-giltwood-console-table-circa-1740/) - The 'Terre de Sienne', Arc-en-Arbalète-shaped (Crossbow Shape) marble top, above a symmetrical pierced foliate and acanthus-carved frieze, with C-scrolls and a central Rococo-shell cartouche, flanked by scrolled and foliate sprays. On conforming C-scrolled, hipped, fretted, cabriole legs, headed with foliate sprays, joined by a conforming C-scrolled, foliate carved stretcher centered by a foliage and a - [An 18th Century Louis Xv, Gilt Bronze, Black Lacquer Cartel, signed Musson a Orleans. Circa 1765](https://antonvenoirinteriors.com/antiques/clocks/18th-century-louis-xv-bracket-clock/) - The waisted case and bracket decorated with scrolling foliate mounts on a black lacquer background, the top surmounted by pierced foliate scrolls, ribbon tied and foliate scroll mounts to edges and surrounding the aperture to base, pierced foliage to side panels and C-scrolls, swags and foliate urn to the door, the 12 piece enamel dial insets - [A 19th Century Ormolu Three-piece Clock Garniture, by Japy Freres, Paris. Circa 1850](https://antonvenoirinteriors.com/antiques/clocks/louis-xv-clock/) - Comprising a mantel clock and a pair of four-light candelabra CASE: The gilt bronze Rococo case finley cast and chased, with flowers and leafy vine designs mounted with 'L'enfant Bacchus', ( Dionysus, Greek God of the grape harvest ), with all-over rocaille and acanthus scrolls, surmounted by three Bacchic putti, emblematic of the grape harvest, making and drinking wine. - [An 18th Century Louis XV Ormolu Mounted Stained Horn and Boulle Marquetry Bracket Clock, by Ferrier, Paris. Circa 1745](https://antonvenoirinteriors.com/antiques/clocks/louis-xv-boulle-clock-1745/) - FERRIER a Paris. france 1600 - 1822 FERRIER, ANTOINE DU France, fl 1600- Astronomical Compodium, 1607 FERRIER et fils, set up by Henri IV in his workshop in the Louvre Paris; clockmaker to Louis XIII: 1616; see Le Sieur de Ferrier; Ferrier et fils moved ther workshop from au Louvre, Paris to rue St. Roch n° 6 près la Fontaine, France - c.1820 FERRIER et Fils: Antoine. Paris 1607-. 1622 FERRIER Guillaume. Paris 1622-1624 Clockmaker to the King FERRIER C. Lyons 1695-d. 1707 FERRIER a Paris- 1822 - [An 18th Century Louis Xv, Ormolu Mounted, Boulle Marquetry Cartel, by Henard a Paris. Circa 1745](https://antonvenoirinteriors.com/antiques/clocks/louis-xv-boulle-bracket-clock-1745/) - HEBE In Greek mythology, Hebe is the goddess of youth (Roman equivalent: Juventas). She is the daughter of Zeus and Hera. Hebe Was the cupbearer for the gods and goddesses of Mount Olympus, serving nectar and ambrosia Their distribution, until she WAS married to Heracles (Roman equivalent: Hercules). Her successor WAS Zeus 's lover Ganymede. Another title of hers, for this reason, is Ganymeda. She drew baths for Ares aussi and Helped Hera enter her chariot. In Euripides 'play Heracleidae Hebe Granted Iolaus' wish to Become young again in order to fight Eurystheus. Hebe HAD two children with Heracles: Alexiares and Anicetus. The name Hebe comes from Greek word meaning "youth" or "prime of life". Likewise Juventas means "youth". In art, Hebe is Usually Depicted wearing a sleeveless dress. Hebe WAS aussi worshiped as a goddess of pardons or forgiveness, freed prisoners Would hang Their chains in the sacred grove of her sanctuary at Phlius. DAPHNIS In Greek mythology, Daphnis was a Sicilian shepherd who was said to be the inventor of pastoral poetry. According to tradition, he was the son of Hermes and a nymph, despite which Daphnis himself was mortal. Daphnis is also described and shown as an eromenos. His mother was said to have exposed him under a laurel tree, where he was found by shepherds and named after the tree under which he was found. He was also sometimes said to be Hermes favourite or beloved rather than his son. A naiad (possibly Echenais or Nomia) was in love with him and promised to be faithful to him. However, he was seduced, with the aid of wine, by the daughter of a king, and, in revenge, this nymph either blinded him or turned him to stone. Pan also fell in love with him and taught him to play the pan pipes. Daphnis was also the name of a member of the group of Prophetic sisters, known as the Thriae. Longus's legend of Daphnis and Chloe describes two children who grow up together and gradually develop mutual love, eventually marrying after many adventures. THE EAGLE OF ZEUS AETOS DIOS Was a giant, golden eagle All which served as Zeus' personal messenger and animal companion. According To Some, the eagle WAS ounce mortal king named Periphas, Whose virtuous rule was so Celebrated cam That He Was Honoured to be like a god. Zeus, in anger, Would Have smote him with a thunderbolt, goal Apollo intervened and, transforming the king into an eagle, set him beside the throne of Zeus. In other accounts, Zeus ADOPTED as the eagle His first bird When It Appeared to him before the Titan War as a sign of Good omen. The eagle WAS later felt by Zeus to carry the handsome youth Ganymede up to heaven to Become the cupbearer of the gods. The bird received a place Amongst the stars as the constellation Aquila. Its consort was Lyra, the heavenly vulture. - [An 18th Century Louis Xv, Vernis Martin Cartel, signed F. Lesage a Paris. Circa 1785-1790](https://antonvenoirinteriors.com/antiques/clocks/18th-century-louis-xv-vernis-martin-clock/) - The waisted case with scrolling foliate mounts and decorated with flowers on olive-green background, the top surmounted by pierced foliate scrolls, foliate scroll mounts to edges and surrounding the aperture to base, pierced foliage to side panels, the the gilt-bronze dial inset with Roman enamel hour plaques and Arabic five minutes, signed to centre F. LESAGE A PARIS, - [An 18th Century Regence Period, Ormolu Mounted, Boulle Marquetry Cartel, by Des. Maret A Laon. Circa 1720](https://antonvenoirinteriors.com/antiques/clocks/18th-century-regence-period-boulle-clock/) - The waisted case of Violin form, with tortoise shell and fine foliate brass inlay, surmounted by a figure of winged Victory. The door with the shepard Daphnis assending and holding a key, embellishments with bronze foliate ormolu and C-scrolled mounts to the sides, and bracket, on scrolled foliate feet. The circular ormolu dial, with individual - [An 18th Century Louis Xv Boulle Cartel D'applique et Console de Forme Violonee, signed "Saint Martin A Paris". Circa 1715-1739](https://antonvenoirinteriors.com/antiques/clocks/a-louis-xv-boulle-bracket-clock/) - The waisted case of VIOLIN form, with tortoise shell and fine foliate brass inlay, surmounted by a figure of putto holding a flag, embellishments with bronze foliate ormolu and C-scrolled mounts to the sides, door and bracket, on vitruvian scrolled foliate feet. The circular ormolu dial, with individual white enamel Roman cartouche chapters, original cut - [Louis Xv Ormolu, Mounted Boulle, Marquetry Clock Garniture](https://antonvenoirinteriors.com/antiques/clocks/louis-xv-boulle-clock/) - The waisted case with scrolling foliate mounts decorated with tortoise shell and fine foliate brass inlay, the top surmounted by pierced foliate scrolls, foliate scroll mounts to edges and surrounding the aperture to base, pierced foliage to side panels, the the gilt-bronze dial inset with Roman enamel hour plaques and blued-steel hands, the twin barrel movement with rectangular - [A 19th Century Louis Xvi Bronze - Ormolu three piece Clock Garniture Paris, by A.D Mougin. Circa 1860 - 1870](https://antonvenoirinteriors.com/antiques/clocks/a-19th-century-louis-xvi-bronze-ormolu-three-piece-clock-garniture-paris-by-ad-mougin-circa-1860-1870/) - A.D. MOUGIN was a well known listed French clock maker who was located at Rue de Turenne 75 Paris in mid 19th century. A. D. Mougin is listed as working in Herimoncourt in the mid to late 19th century, which is in the Montbeliard region of France one of the main clock making areas. Mougin is said to have exhibited clocks and as his trademark contains 'Deux Medailles' in which he won two medals at exhibitions. According to Allix, his name appears on a casing of Japy blanc roulants for carriage clocks, A.D. MOUGIN worked on and roulants from Japy Freres. Stamped “A.D. MOUGIN DEUX MEDAILLES” (in a circle) with a star. The design for this clock is generally attributed to François Vion. A drawing executed by Duplessis is now in the Esmerian Collection at the Metropolitan Museum of Art, New York and shows an essentially identical pendule à casolette. Clocks of this model, or ones with slight modifications, were particularly popular with the French royal family and their closest circle. Louis XVI, Marie-Antoinette, Mesdames Victoire and Adélaïde, the Marquis de Sérent, and the Comte de Provence are all known to have owned a clock of this design. Marie-Antoinette owned two examples, one at St. Cloud and one in Paris. Louis XVI purchased one for the Tuilleries in 1789. - [An 18th Century, Regence Period, Boulle Bracket Clock. Circa. 1715](https://antonvenoirinteriors.com/antiques/clocks/18th-century-boulle-clock-circa-1715/) - Jean Godde L'aîné a Paris: GODDE. Jean Paris 1691-1729 signed J. Godde Laisne. Was received as Maître Horologer (Master Clockmaker) in 1691 and was Clockmaker to Louis XIV. Jean Godde L'aîné a Paris: Parisian clock and watchmaker, became Maître horologer ( Master clockmaker ) in 1691. Jean Godde L'aîné a Paris 1691 - 1729. Jean Godde L'aîné is recorded as having made a clock for Louis XIV to use at the Louvre and his name is found as Jean Godde L'aîné a Paris on boulle clocks. The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets. By F. B. J. Watson. pg.568 Watchmakers & Clockmakers Of The World. By. Brian Loomes. Reference: ' THE METROPLITAN MUSEUM OF ART '. - [A 19th Century Regence, Ormolu Mounted, Boulle Marquetry Clock. Circa 1870](https://antonvenoirinteriors.com/antiques/clocks/boulle-clock/) - The foliate mounted arch shaped case with tortoise shell and fine foliate brass inlay, surmounted by a figure of winged Victory. The door with foliate scrolls, embellishments with bronze foliate ormolu C-scrolls and satyre masks mounts to the sides, on four scrolled foliate, bronze Nymphs to the hipped angles. The circular ormolu dial, with individual ## Categories - [Press](https://antonvenoirinteriors.com/category/press/) - [Blog](https://antonvenoirinteriors.com/category/blog/) ## Product categories - [Furniture](https://antonvenoirinteriors.com/antique-category/furniture/) - Anton Venoir Interiors A Private Collection Of Fine French Antique Furniture From the 17th,18th and 19th Century Louis XIV, Régence, Louis XV, Louis XVI Period. - [Clocks](https://antonvenoirinteriors.com/antique-category/clocks/) - Anton Venoir Interiors A Private collection of 18th century Louis XV, Regence Period, Boulle Marquetry Clocks. - [Mirrors](https://antonvenoirinteriors.com/antique-category/mirrors/) - Anton Venoir Interiors Private Collection Of 18th Century, Louis XV, Provincial, Regence Period, Giltwood Mirrors - [Tables](https://antonvenoirinteriors.com/antique-category/furniture/tables/) - Anton Venoir Interiors A Private Collection Of Fine French Antique Furniture From the 17th,18th and 19th Century Louis XIV, Régence, Louis XV, Louis XVI Period. - 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