A rare set of four side chairs attributed to Georges Jacob

A rare set of four side chairs, in mahogany, features rectangular openwork backs with antique designs composed of vases, palmettes, and facing swans. The lower part of the back displays a geometric horizontal band. The chairs stand on turned, gadrooned, tapering legs topped with a carved die-join of a daisy and ending in toupie feet.
Attributed to Georges Jacob
Late 18th century, Directoire period
Customary restorations, modern upholstery.
Dimensions: H. 88 x W. 47 x D. 42 cm


The four chairs we are showcasing are remarkable and highly sought after by collectors due to their unique design. This particular model is rare and is sought after by prestigious collectors. These chairs can be compared to the two pairs acquired by the Carnavalet Museum during the auction held on June 10, 2022, at Beaussant Lefèvre auction house (lots 352 and 353). Our chairs were commissioned initially for the grand residence of Pierre Augustin de Caron de Beaumarchais (1732-1799), built between 1787 and 1788, facing the Bastille on the Boulevard Saint-Antoine (which no longer exists today). As indicated on the label, these chairs were intended for the salon of Madame Marie-Thérèse Amélie Willermaulaz, Beaumarchais’ last wife, who frequently hosted distinguished guests. Therefore, it was essential for her to have a fashionable interior. Georges Jacob (1739-1814), keenly understood the preferences of discerning innovators in furniture design.

The label confirms that these chairs could indeed be the work of Georges Jacob. Two other chairs attributed to this master were sold at public auctions. The auction house Leducq sold a single chair, lot N°194, on October 17, 2023, and Christie’s sold another single chair, lot N°385, on September 21, 2011. It seems that the latter chair belonged to Baron Eugène Fould Springer, a banker, for his residence at the Royaumont Abbey Palace during an auction of his entire collection.

The names of these patrons and collectors indicate that this particular model appealed to discerning eyes. To gain a deeper understanding, one only needs to study the contemporary production of these chairs and compare them. During the reign of Louis XVI, there was a high demand for mahogany, and the influence of the Anglo-Chinese style grew. The English especially admired openwork backs inspired by Chinese furniture and the designs of Thomas Chippendale (1718-1779). France embraced this style and became a pioneer of this new modern wave. The openwork back shapes of the seats were diverse: from racket-shaped backs to rounded, square, with basket handles, and more. These splats' designs varied – from a lyre, a sheaf, air balloons, chairs, palmettes, and crosses to geometric patterns such as arcades or diamonds or enhanced with slender slats. As the Directoire period approached, the fashion for these chairs continued to evolve, resulting in an even greater variety of motifs.

The backs of our chairs are genuinely authentic. The overall design is intricate, featuring two facing swans, a palmette, a vase, and a frieze, in addition to the framework moldings. Few similar models have been produced.

The name Georges Jacob is ideally in line with this type of production; it's quite the opposite. He was one of the most sought-after artists of his time in the decorative arts. He became a master craftsman in 1765 and showcased unparalleled creativity and quality of execution. During Louis XVI's reign, he was already the most renowned promoter and leading supplier of these openwork decorated seats. He was one of the first to adopt these new shapes. For example, we can mention the unique chairs from the "Laiterie" at the château de Rambouillet, which belonged to Queen Marie-Antoinette. He also popularized the use of mahogany and drew inspiration from the furniture of Greek and Roman antiquity (curule chairs). He maintained this avant-garde position even during the Directoire period, as evidenced by the chairs in our study. In his book "Jacob en son temps," Michel Beurdeley describes him as "The head of fashion, Georges Jacob, master cabinetmaker, specialist in seats and consoles, artistic advisor to the great figures of this world, essentially a decorator." His sculpted decorations are always crafted with excellent refinement. Recognizing Georges Jacob as one of the most creative and imaginative artists is crucial. The conical feet and the backrest design represent just a minor aspect of our study.

What also makes our chairs unique is their material. Here, we are dealing with stained beech wood instead of mahogany. Designed to imitate mahogany, the stained wood (not lacquered) allows for a fine-grain texture. Jacob rarely used this technique (there are few examples), making our chairs appealing to discerning collectors.

Beyond the quality of the chairs, owning a set of seats from this period is quite fascinating. The Directoire period (1795-1799) marked a transitional phase between Louis XVI and the Empire, during which different styles developed and were experimented with. It was a brief period during which few works were produced. Despite the tumultuous times, Jacob and a few of his contemporaries continued to work for private commissioners and a new emerging society when construction was thriving in Paris.

Many aspects of these chairs can be explored, making them a fascinating research subject.