Monday, March 14, 2016

The Best Seat In The House:

AN 18TH CENTURY LOUIS XV PERIOD SALON A LA REINE BY JEAN-BAPTISTE GOURDIN. CIRCA 1740-1745.



AN 18TH CENTURY LOUIS XV PERIOD SALON A LA REINE BY JEAN-BAPTISTE GOURDIN. CIRCA 1740-1745.
 
Each Fauteuil and the canape with ribbon-carved frame, padded cartouche-shaped back, scrolling arms and shaped seat covered in a 'Aprile' silk lampas fabric from Maison Colony, Over a moulded serpentine seat-rail centrally carved with flower-heads and leafy sprays, on cabriole legs headed by twin flowerheads and pendant leaves, stamped J.B GOURDIN. Louis XV period.
 
Jean-Baptiste GOURDIN, Maître en 1747.
 
Fauteuils: H: 92 cm, L: 67 cm, P: 56 cm.
Canape: H: 103 cm, L: 160 cm, P: 60 cm.



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 .



Sunday, September 14, 2014

Melbourne Art Fair:

ANTON VENOIR INTRERIORS
Fine French Antiques. Melbourne.

Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com


Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Bureau plat: Dionysian Mask



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Bureau Plat: Dionysian Mask



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Transitional Commode. circa 1770.
Louis XV Giltwood Mirror. circa 1745.



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Period Giltwood Mirror Detail. circa 1745



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Period Giltwood Mirror Detail. circa 1745



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Period Giltwood Mirror Detail. circa 1745



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com




Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Bureau Plat: Satyr Mask



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Bureau Plat: Detail.



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Bureau Plat: Detail.



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Marquetry 



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Marquetry



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Regence Period Boulle Bracket Clock. circa 1715-1720



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Regence Boulle Bracket Clock. circa 1715-1720



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Transitional, Vernis Martin, Black Lacquer Bracket Clock. circa 1765



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Period Commode. circa 1743


Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Period Commode Detail. circa 1743



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Period Commode Detail. circa 1743





Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Period Commode Detail. circa 1743



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Gilt Bronze Clock Detail.



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Louis XV Gilt Bronze Cock Detail.



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Bureau Plat: Dionysian Mask



Melbourne Art Fair: ANTON VENOIR INTERIORS. Fine French Antiques.
www.antonvenoirinteriors.com

Boulle Bureau Plat: Dionysian Mask











Tony Venios 
26/321 Chapel St. Prahran, Melbourne, Vic.
Australia.
3181

W: www.antonvenoirinteriors.com


T:  +61412561809








Tuesday, July 8, 2014

Anton Venoir Interiors – French Antiques for Fabulous Decor.



Apartment 26 / 321 Chapel st. Prahran.
Anton Venoir Interiors, Melbourne.
www.antonvenoirinteriors.com

 Unlike at 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 attention.

Anton Venoir Interiors in Melbourne specialise in fine French furniture, textiles and objet d’art from the 17th to the 19th centuries. They display their collection at significant events, like the recent AA&ADA Melbourne Antiques fair, as well as in their private showroom – Apt26, where you can view and appreciate the diversity and fine quality of the pieces on offer.


 From chairs to clocks from commodes to salon suites and from tulipwood to kingwood pieces with brèche violette marble tops, the selection of antiques also includes mirrors and tapestries.

From the 17th Century to the 19th Century in the styles of Louis XIV, Régence, Louis XV and Louis XVI. each have been carefully studied, assessed and chosen. The mirror in this view of their gallery comes from the south of France. It is decorated with grapes, vine leaves and branches, so redolent of the area’s 2500 + year’s wine tradition. The 18th century in Provence, like the rest of Europe and Britain were glory years, the land rich and fertile providing prosperity through active trade.






More sophisticated pieces were influenced by Paris as the eighteenth century Provencal furniture makers responded to the latest fashions from the capital.
In the first half of the century there was the sinuous curves, beautiful ornamentation and asymmetrical characteristics of the Louis XV or Rococo) style and in the second half, the ordered lyrical elegance of the Louis XVI, or Neoclassical style.


18th Century Louis XV Period Giltwood Mirror c1750.  Anton Venoir Interiors, Melbourne.
www.antonvenoirinteriors.com



18th Century Louis XV Period Giltwood Mirror c1750.  Anton Venoir Interiors, Melbourne
www.antonvenoirinteriors.com

The mirror is from the region near Beaucaire, which is revealed in the quality of regional timber used whose strength facilitated the work of the sculptor who carved its applied decorative ornament that was later gilded.
The Residents in Arles, Beucaire and Tarascon supported the tradition of fine furniture making in their region, produced by local craftsmen.
The two main areas of production were Arles and Fourques.
Arlesian pieces had an emphasis on elaborate ornate carving, with curved lines and lavish floral detail on delicate, low relief, such as garlands of roses, flower buds and olive branches.
The style of Fourques meant furniture with deeply sculpted curves and undulating mouldings with little or no decorative motifs, and with less carved detail and ornamentation.




Apartment 26
Anton Venoir Interiors, Melbourne
www.antonvenoirinteriors.com


Anton Venoir Interiors also have a base in Europe. They import pieces that are shown off to perfection in their private showroom at Prahran, where you and your advisors can view and consider pieces from their collection for yours.

Tapestries, the so-called ‘mirror of civilisation’ recorded scenes of everyday life, great historical exploits or delivered lessons from history through stories attached to moral and mythological subjects. 

www.antonvenoirinteriors.com

17th Century Royal Aubusson Tapestry, by Isaac Moillon (1614-1673) The Banquet of Dido and Aeneas Signed “A Fleurs de Lys B”  Anton Venoir Interiors
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Anton Venoir Interiors are currently offering a splendid seventeenth century ‘Royal Aubusson Tapestry by Isaac Moillon (1614-1673) depicting the ‘Banquet of Dido and Aeneas’.
In the grand palace of Carthage the guests at a banquet are gathered around Dido Queen of Carthage, who has her arm around Cupid, an indication the Trojan hero Aeneas on her right is holding her captive with his many charms.
Accompanied by Achate (being served wine) Aeneas is relating to Dido the story of the misfortunes of the city of Troy.
The “moral” of the story is that young women should not succumb to the advances and promises of ardent young men, because as it turns out Aeneas abandoned her.
The border of the tapestry is a garland of flowers and it’s signed “A Fleurs de Lys B ” – Royal factory of Aubusson. The factory produced both carpets and tapestries in France from the 14th century.
Their origin was with the weavers of Flanders, who sought refuge in the town of Aubusson in the late 1500’

During the 17th century Aubusson weavers were given “Royal Appointment” status.

Aubusson, and also the Gobelins workshops, which King Louis XIV (1638-1715) purchased in 1662, then took tapestry making to a high art form.






 Antiques, Anton Venoir Interiors
www.antonvenoirinteriors.com

Furniture construction and design also significantly advanced in France during Louis XIV’s reign. Its design style was strong and bold, complementing the era’s so-called ‘Baroque style’ with its uncompromising symmetry, grand effects and studied opulence.
Among the many superb craftsmen one stood out, he was Andre Charles Boulle, born 1642 – 1732.  He effectively used timber inlaid with tortoiseshell and engraved brass to render superbly wrought designs.




                                           A French 19th century Louis XV kingwood, rosewood and mahogany Bureau Plat
Circa 1870 Anton Venoir Interiors, Melbourne
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The Bureau plat is of the finest quality after a model by Leonard BOUDIN ( 1735-1761).

      Many of the exceptional 19th century Decorative Art pieces,  were modeled after pieces by Master Ebeniste’s.


An 18th century Louis XV Ormolu Mounted Kingwood and Bois Satine Commode, by Francoise Faizelot, Jean Louis Faizelot Delorme
Anton Venoir Interiors, Melbourne 
www.antonvenoirinteriors.com




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During the 18th century, tapestry became part of the decoration of walls in town, fixed onto battens.
Often underneath them you would find disposed elegantly, an 18th century Louis XV Ormolu Mounted Kingwood and Bois Satine Commode.
Anton Venoir Interiors has one of these on offer, in the design style known as Louis XV or ‘Rococo’, which is characterized by its curvaceous bombe shape, capricious ‘cabriole’ legs and splendid applied ormolu mounts
After 1751 furniture in France was required to bear impressed stamp of the maker.
The Jurande des Menuisiers Ébénistes, who examined pieces and if satisfied with the quality impressed the initials J.M.E. on a piece, and only those made expressly for the Crown were exempt
This is stamped FF. Delorme, JME – Francois Faizelot Delorme (1691-1768) Maître Avant 1735 and Jean Louis Faizelot Delorme, Maître 1763.
They all belonged to one the most famous families of cabinetmakers; the father, Francois Faizelot Delorme (1691-1768) with his sons Jean-Louis Faizelot Delorme, Alexis Faizelot Delorme and Adrien Delorme who were all maitres-ebenistes.
The best interiors of the 18th century in the French neoclassical taste, achieved a splendid synthesis between fixed and movable decoration and furniture with the new style becoming popular after the Revolution. ‘
Although the classical doctrine flowed from Paris at the beginning of the nineteenth century it was still inspired by pre revolutionary ideals and models.


A French 19th century, Napoleon III boulle bureau plat. Circa 1848  
Anton Venoir Interiors, Melbourne.
www.antonvenoirinteriors.com

This stunning Boulle bureau plat came to Melbourne from the private collection at the Chateau de Cheverny in the Loire Valley. During World War II, the Mona Lisa, along with other famous works of art and significant pieces decorative art, were hidden in this Chateau. One of Anton Venoir Interiors treasured pieces, the bureau plat has a reversible top, which flips over to reveal the original tooled leather-writing surface so that it could act as a desk as well






A French 19th century, Napoleon III boulle bureau plat. Circa 1848  
Anton Venoir Interiors, Melbourne.
www.antonvenoirinteriors.com

Circa. 1848, the ormolu-banded top is inlaid overall with scrolling arabesques, above two shaped drawers, which are centrally fitted with Dionysian Satyr masks.
The top is raised on hipped cabriole legs, which are mounted with Bacchus’ masks within trailing vine foliage.
The legs end with gilded tapering scroll sabots, resembling deer hooves.



The French coined the phrase “vive la difference’, and incorporated it into the fabric of their homes.
If you embrace French antiques the exuberant spirit and the innate style of France and its people can be yours.
For lovers of fine furniture if you are in Melbourne or visiting from interstate or internationally, then Tony Venios of Anton Venoir Interiors is the man to see.
The magnificent collection of 17th, 18th and 19th Century French decorative arts he has assembled include many pieces headed for museums.
The works have been collected over the past 25 years.
Phone and make an appointment and Tony Venios will help you to start planning your new style, or to choose a special piece for your collection.
Carolyn McDowall, The Culture Concept Circle, 2014




Tony Venios 
26/321 Chapel St. Prahran, Melbourne, Vic.
Australia.
3181


W: www.antonvenoirinteriors.com
T:  +61412561809
E:  appt26@hotmail.com


     info@antonvenoirinteriors.com