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LOYALTY TO THE MASTER CABINET-MAKERS OF THE 18th CENTURY

Finding rare models which can be identified by a detail in the carving, a special mount and perfect proportions is our essential first step dictated by the love of chairs and wood. The woods worked are mainly beech and mahogany. Our frames are mortice and tenon built with pegs where the model for the era used them.  Canework is done entirely by hand, strand by strand, each strand being knotted and the knots hidden at the back of the chair using the traditional rabbet method.

To adhere to the proportions and depth of the carvings of each original model to the nearest millimetre, the craftsmen work with the piece from the period in front of them to serve as their yardstick.


TAKING THEIR OWN GOOD TIME

The marks of two hundred years of wear and tear are faithfully reproduced, from dust and woodworm holes to the lustre and natural patina of a wood which has aged gracefully.

To allow the wood to be deeply impregnated with successive layers of wax, each piece stands for several days in our workshops between the different finishing stages. This method gives the chair a natural ageing effect and a warmer and livelier patina.  What is more, all the patinas will become more pronounced over the years, just as that of an inherited piece of furniture, enhancing the unique character of each seat.


SENSING THE ARTIST’S HAND

Our craftsmen are chosen for their artistic sense and their sensitivity to subtleties.  These qualities truly bring the chair to life according to its shapes and carvings or the reproduction of a very specific shade of finish.  However, the personal touch of each crafstman is part of a strictly-defined methodology, the result of many years of tradition, to retain a continuity in the tones of finish offered.  It is this discerning mastery of creativity and the reproducibility of patina which guarantees the mark of a crafstman of luxury items.

The processes are a closely-guarded secret and have been perfected with highly-specialised Belgian and French senior craftsmen and restorers who have worked or still work for the best antique dealers.

Distressed or worn, monochrome or polychrome, with “rechampi” or stronger thread, the pieces of lacquer ware are produced by the 18th century method and require between six and eleven manipulations. A choice of about 20 standard hues can be combined at infinitum.  Specific colour research can also be carried out upon request.
Two gilding techniques are offered : the most traditional water gilding, using 24 carat gold leaves, and the blended gilding with 22 carat gold.

CONFORMITY OF STYLES

As to upholstery, three main characteristics have been taken into consideration : comfort, aesthetics and faithfulness to the different styles (generous shapes for the Regence style, rounded for the Louis XV style, sharper lines for the Louis XVI style and severe contours for the 19th century styles).

Two types of upholstery are available  : a high-quality semi-traditional upholstery with springs, webbing, vegetable hair and foam; and the true antique-style upholstery with horsehair, hand-stitched pads and springs.