{"id":1090,"date":"2025-04-01T16:15:33","date_gmt":"2025-04-01T14:15:33","guid":{"rendered":"https:\/\/youngcollectors.galerieleage.com\/?post_type=product&p=1090"},"modified":"2025-05-22T17:22:01","modified_gmt":"2025-05-22T15:22:01","slug":"pair-of-firedogs-with-a-vase-motf-garlands-and-fireballs","status":"publish","type":"product","link":"https:\/\/youngcollectors.galerieleage.com\/en\/object\/pair-of-firedogs-with-a-vase-motf-garlands-and-fireballs\/","title":{"rendered":"Pair of firedogs with fireballs motifs"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":2614,"template":"","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"_yc_description_objet":"","_yc_histoire_objet":"","_yc_etat_objet":""},"product_brand":[],"product_cat":[],"product_tag":[],"class_list":{"0":"post-1090","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","7":"first","8":"instock","9":"taxable","10":"shipping-taxable","11":"purchasable","12":"product-type-simple"},"acf":{"cartel":{"simple_value_formatted":"

France, Louis xvi<\/span> period<\/p>\n

Attributed to Jean-Charles Delafosse (1734-1789)<\/strong><\/p>\n

Chased and gilt bronze<\/p>\n","value_formatted":"

France, Louis xvi<\/span> period<\/p>\r\n

Attributed to Jean-Charles Delafosse (1734-1789)<\/strong><\/p>\r\n

Chased and gilt bronze<\/p>","value":"

France, Louis xvi<\/span> period<\/p>\r\n

Attributed to Jean-Charles Delafosse (1734-1789)<\/strong><\/p>\r\n

Chased and gilt bronze<\/p>","field":{"ID":781,"key":"field_67f661144735a","label":"Cartel","name":"cartel","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"cartel","_valid":1}},"dimensions":{"simple_value_formatted":"

 <\/p>\n

Height:\u00a0\u00a0\u00a0 38 cm\u00a0\u00a0 - 15 inches<\/p>\n

Length:\u00a0\u00a0\u00a0\u00a0 32 cm\u00a0\u00a0 - 13 inches<\/p>\n

Depth:\u00a0\u00a0\u00a0\u00a0 62 cm\u00a0\u00a0 - 24\u00a0 inches<\/p>\n","value_formatted":" \r\n

Height:\u00a0\u00a0\u00a0 38 cm\u00a0\u00a0 - 15 inches<\/p>\r\n

Length:\u00a0\u00a0\u00a0\u00a0 32 cm\u00a0\u00a0 - 13 inches<\/p>\r\n

Depth:\u00a0\u00a0\u00a0\u00a0 62 cm\u00a0\u00a0 - 24\u00a0 inches<\/p>","value":" \r\n

Height:\u00a0\u00a0\u00a0 38 cm\u00a0\u00a0 - 15 inches<\/p>\r\n

Length:\u00a0\u00a0\u00a0\u00a0 32 cm\u00a0\u00a0 - 13 inches<\/p>\r\n

Depth:\u00a0\u00a0\u00a0\u00a0 62 cm\u00a0\u00a0 - 24\u00a0 inches<\/p>","field":{"ID":782,"key":"field_67f661254735b","label":"Dimensions","name":"dimensions","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":1,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wpml_cf_preferences":2,"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"_name":"dimensions","_valid":1}},"exemples_comparables":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":783,"key":"field_67f661484735c","label":"Exemples comparables","name":"exemples_comparables","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":2,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"exemples_comparables","_valid":1}},"exemples_vraisemblablement_identiques":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":786,"key":"field_67f662067360c","label":"Exemples vraisemblablement identiques","name":"exemples_vraisemblablement_identiques","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":3,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"exemples_vraisemblablement_identiques","_valid":1}},"publications":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":784,"key":"field_67f661604735d","label":"Publications","name":"publications","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":4,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"publications","_valid":1}},"description_de_lobjet":{"simple_value_formatted":"

 <\/p>\n

Each firedog is composed with a squared base adorned of rose motif on which rests a vase with a pedestal presenting a faun flanked by two double handles inspired by vases in S\u00e8vres porcelain and gilt bronze.<\/p>\n

The fixed cover of the vase is encircled by a laurel crown and surmounted by an acanthus leave.<\/p>\n

Laid on the exterior handle of this vase, an important garland of oak leaves falls back asymmetrically on the base, adorned with a single oak leave making the link with the vase on pedestal forming a reverse pyramid, topped with a ball adorned of stylised flames. A frieze of oak leaves wrapped up runs along the pediment of the band.<\/p>\n","value_formatted":" \r\n

Each firedog is composed with a squared base adorned of rose motif on which rests a vase with a pedestal presenting a faun flanked by two double handles inspired by vases in S\u00e8vres porcelain and gilt bronze.<\/p>\r\n

The fixed cover of the vase is encircled by a laurel crown and surmounted by an acanthus leave.<\/p>\r\n

Laid on the exterior handle of this vase, an important garland of oak leaves falls back asymmetrically on the base, adorned with a single oak leave making the link with the vase on pedestal forming a reverse pyramid, topped with a ball adorned of stylised flames. A frieze of oak leaves wrapped up runs along the pediment of the band.<\/p>","value":" \r\n

Each firedog is composed with a squared base adorned of rose motif on which rests a vase with a pedestal presenting a faun flanked by two double handles inspired by vases in S\u00e8vres porcelain and gilt bronze.<\/p>\r\n

The fixed cover of the vase is encircled by a laurel crown and surmounted by an acanthus leave.<\/p>\r\n

Laid on the exterior handle of this vase, an important garland of oak leaves falls back asymmetrically on the base, adorned with a single oak leave making the link with the vase on pedestal forming a reverse pyramid, topped with a ball adorned of stylised flames. A frieze of oak leaves wrapped up runs along the pediment of the band.<\/p>","field":{"ID":615,"key":"field_67e67d7bae7bc","label":"Description de l'objet","name":"description_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":5,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"description_de_lobjet","_valid":1}},"histoire_de_lobjet":{"simple_value_formatted":"

Neoclassical taste and Greek influence<\/h3>\n

This pair of andirons is perfectly in keeping with the neoclassical trend of the 1770s.<\/p>\n

As early as the 1750s, in response to the claims of a small group of critics who, denouncing the extravagance of rocaille, aspired to rediscover the \"noble simplicity\" of the masters of Antiquity, an increasingly pronounced taste for neoclassical vocabulary began to emerge. The trip to Italy organized by the Marquise de Pompadour to train the taste of her brother, Abel Poisson, Marquis de Vandi\u00e8res, future Director General of the King's Buildings, in the company of the engraver Charles-Nicolas Cochin, the architect Jacques-Germain Soufflot and the Abb\u00e9 Leblanc between November 1749 and March 1751, was considered at the time to mark the emergence of the \"Greek taste\". This was followed in December 1754 by the publication in the Mercure de France of a \"supplication aux Orf\u00e8vres, Ciseleurs, Sculpteurs en bois pour les appartements et autres<\/em>\" by Louis-S\u00e9bastien Mercier, a veritable plea for straight lines, respect for proportions and balance, and an urgent reminder of the nobility of the ancient ornamental repertoire. And so, in the 1760s, this new taste took hold of the capital. Painters, cabinetmakers and bronzemakers all responded to the new taste, prefiguring the vocabulary developed in the Louis xvi<\/span> period. Characteristic of the powerful treatment of bronzes in this style, this pair of andirons, with its tripod vase with rams' heads and hooves, its friezes of piastres, its frieze of entrelacs or its motifs of rudent\u00e9es fluting, also displays all the vocabulary of this style.<\/p>\n

Jean-Charles Delafosse (1734-1789)<\/h3>\n

Born in Paris in 1734 and the son of a wine dealer established in the rue du Roi de Sicile<\/em>, he began his career as an apprentice with the sculptor Jean-Baptiste Poulet, a directeur-garde<\/em> at the Acad\u00e9mie de Saint-Luc<\/em>, path he quickly abandoned.<\/p>\n

The first known work of Jean-Charles Delafosse dates back to the year 1763. It is a drawing preserved today in the Biblioth\u00e8que de l\u2019\u00c9cole des Beaux-Arts<\/em> presenting a Projet de pi\u00e9destal pour la statue de Louis xv<\/span><\/em>\u00a0(EBA 1944).<\/p>\n

In 1766, he presents himself as an architect and published then a M\u00e9moire pour une Boucherie et Tuerie g\u00e9n\u00e9rale servant \u00e0 la consommation de la ville de Paris, laquelle Tuerie serait plac\u00e9e dans l'isle des Cygnes<\/em>, which had no follow up. It is likely that he was already working for his repository entitled Nouvelle iconologie historique ou Attributs hi\u00e9roglyphiques, qui ont pour objet les quatre \u00e9l\u00e9ments, les quatre saisons, les quatre parties du monde et les diff\u00e9rentes complexions de l'homme<\/em>. The latter, constituted of 800 plates was engraved and assembled in 10 books by Delafosse and published in Paris in 1768. Major work, from which we can find the original drawing of a pair of wall-lights (Cahier de 6 girandoles et bras de chemin\u00e9es<\/em>, pl. 4). Sold 48 gold pound, the repository included at first a serie of trophies characterised by a strict neoclassical style. Delafosse from there on only completed his work by including additional booklets that permitted him to express himself in all the domains of the interior and decorative arts.<\/p>\n

In 1767, he gave himself the title of architect and professor for the drawing, then in 1775, the one of vice professor for the geometry and perspective at the Acad\u00e9mie de Saint-Luc<\/em>. At the same time, he moved to the rue Poissonni\u00e8re<\/em> and conquered the rue Neuve Saint-Martin<\/em>. Delafosse became member of the Acad\u00e9mie de Bordeaux<\/em>, in 1781, following remarkable sending to the Salon of this city.<\/p>\n

He multiplied the models of furniture, chairs, luminary, vases and objects of all sorts which, if they were not directly and faithfully copied by the artists and craftsmen in the same capacity that were, for example, many furniture and objects drawned by Richard de Lalonde, inspired nevertheless considerably the productions of the latter.<\/p>\n

Proof of his success, Delafosse wrote a new version of his first repository in 1771, with the same title, but with 18 booklets instead of 10, edited by Daumont, rue Saint-Martin<\/em> and Chereau, rue des Mathurins<\/em>. Between 1773 and 1785 he published, in addition to independent pieces and a repository of orders of architecture, two other main repositories. The first, titled Vingt-quatre diff\u00e9rents cahiers de d\u00e9coration, sculptures, orf\u00e8vreries et ornements divers <\/em>that complement the work of Jean-Charles Delafosse and follow its Nouvelle iconologie historique [\u2026]<\/em>, also includes works by other ornementalists such as Puisieux fils and A. Le Canu. The second is essentially about furniture, rich of 134 plates, some of which reveal a collaboration with other artists, bringing together more than 200 models.<\/p>\n

The biggest virtue of Delafosse was his imagination which conducted him to give names of pure fantasy to his creations, talking about \u201cpaphose en gondole<\/em>\u201d, \u201cconvalescente<\/em>\u201d, \u201cobligeante<\/em>\u201d to designate a armchair, or even more a \u201cveilleuse \u00e0 la turque<\/em>\u201d. Delafosse was one of the principal initiators of this \u201cGreek taste\u201d which was a craze in Paris in 1765.<\/p>\n

He influenced a number of Louis xvi<\/span> period ornementalists such as Mathieu Liard, Boucher fils, Jean-Fran\u00e7ois Forty, Richard de Lalonde, Jean-Louis Prieur or Aubert Parent. It is thus him who seems to have given them the taste for antique motifs: the bucrane, the heavy drapery, the snake, even more the congelation. It is especially characterised by the extensive use of the garland, either laurel or oak, and flowers.<\/span><\/p>\n","value_formatted":"

Neoclassical taste and Greek influence<\/h3>\r\n

This pair of andirons is perfectly in keeping with the neoclassical trend of the 1770s.<\/p>\r\n

As early as the 1750s, in response to the claims of a small group of critics who, denouncing the extravagance of rocaille, aspired to rediscover the \"noble simplicity\" of the masters of Antiquity, an increasingly pronounced taste for neoclassical vocabulary began to emerge. The trip to Italy organized by the Marquise de Pompadour to train the taste of her brother, Abel Poisson, Marquis de Vandi\u00e8res, future Director General of the King's Buildings, in the company of the engraver Charles-Nicolas Cochin, the architect Jacques-Germain Soufflot and the Abb\u00e9 Leblanc between November 1749 and March 1751, was considered at the time to mark the emergence of the \"Greek taste\". This was followed in December 1754 by the publication in the Mercure de France of a \"supplication aux Orf\u00e8vres, Ciseleurs, Sculpteurs en bois pour les appartements et autres<\/em>\" by Louis-S\u00e9bastien Mercier, a veritable plea for straight lines, respect for proportions and balance, and an urgent reminder of the nobility of the ancient ornamental repertoire. And so, in the 1760s, this new taste took hold of the capital. Painters, cabinetmakers and bronzemakers all responded to the new taste, prefiguring the vocabulary developed in the Louis xvi<\/span> period. Characteristic of the powerful treatment of bronzes in this style, this pair of andirons, with its tripod vase with rams' heads and hooves, its friezes of piastres, its frieze of entrelacs or its motifs of rudent\u00e9es fluting, also displays all the vocabulary of this style.<\/p>\r\n\r\n

Jean-Charles Delafosse (1734-1789)<\/h3>\r\n

Born in Paris in 1734 and the son of a wine dealer established in the rue du Roi de Sicile<\/em>, he began his career as an apprentice with the sculptor Jean-Baptiste Poulet, a directeur-garde<\/em> at the Acad\u00e9mie de Saint-Luc<\/em>, path he quickly abandoned.<\/p>\r\n

The first known work of Jean-Charles Delafosse dates back to the year 1763. It is a drawing preserved today in the Biblioth\u00e8que de l\u2019\u00c9cole des Beaux-Arts<\/em> presenting a Projet de pi\u00e9destal pour la statue de Louis xv<\/span><\/em>\u00a0(EBA 1944).<\/p>\r\n

In 1766, he presents himself as an architect and published then a M\u00e9moire pour une Boucherie et Tuerie g\u00e9n\u00e9rale servant \u00e0 la consommation de la ville de Paris, laquelle Tuerie serait plac\u00e9e dans l'isle des Cygnes<\/em>, which had no follow up. It is likely that he was already working for his repository entitled Nouvelle iconologie historique ou Attributs hi\u00e9roglyphiques, qui ont pour objet les quatre \u00e9l\u00e9ments, les quatre saisons, les quatre parties du monde et les diff\u00e9rentes complexions de l'homme<\/em>. The latter, constituted of 800 plates was engraved and assembled in 10 books by Delafosse and published in Paris in 1768. Major work, from which we can find the original drawing of a pair of wall-lights (Cahier de 6 girandoles et bras de chemin\u00e9es<\/em>, pl. 4). Sold 48 gold pound, the repository included at first a serie of trophies characterised by a strict neoclassical style. Delafosse from there on only completed his work by including additional booklets that permitted him to express himself in all the domains of the interior and decorative arts.<\/p>\r\n

In 1767, he gave himself the title of architect and professor for the drawing, then in 1775, the one of vice professor for the geometry and perspective at the Acad\u00e9mie de Saint-Luc<\/em>. At the same time, he moved to the rue Poissonni\u00e8re<\/em> and conquered the rue Neuve Saint-Martin<\/em>. Delafosse became member of the Acad\u00e9mie de Bordeaux<\/em>, in 1781, following remarkable sending to the Salon of this city.<\/p>\r\n

He multiplied the models of furniture, chairs, luminary, vases and objects of all sorts which, if they were not directly and faithfully copied by the artists and craftsmen in the same capacity that were, for example, many furniture and objects drawned by Richard de Lalonde, inspired nevertheless considerably the productions of the latter.<\/p>\r\n

Proof of his success, Delafosse wrote a new version of his first repository in 1771, with the same title, but with 18 booklets instead of 10, edited by Daumont, rue Saint-Martin<\/em> and Chereau, rue des Mathurins<\/em>. Between 1773 and 1785 he published, in addition to independent pieces and a repository of orders of architecture, two other main repositories. The first, titled Vingt-quatre diff\u00e9rents cahiers de d\u00e9coration, sculptures, orf\u00e8vreries et ornements divers <\/em>that complement the work of Jean-Charles Delafosse and follow its Nouvelle iconologie historique [\u2026]<\/em>, also includes works by other ornementalists such as Puisieux fils and A. Le Canu. The second is essentially about furniture, rich of 134 plates, some of which reveal a collaboration with other artists, bringing together more than 200 models.<\/p>\r\n

The biggest virtue of Delafosse was his imagination which conducted him to give names of pure fantasy to his creations, talking about \u201cpaphose en gondole<\/em>\u201d, \u201cconvalescente<\/em>\u201d, \u201cobligeante<\/em>\u201d to designate a armchair, or even more a \u201cveilleuse \u00e0 la turque<\/em>\u201d. Delafosse was one of the principal initiators of this \u201cGreek taste\u201d which was a craze in Paris in 1765.<\/p>\r\nHe influenced a number of Louis xvi<\/span> period ornementalists such as Mathieu Liard, Boucher fils, Jean-Fran\u00e7ois Forty, Richard de Lalonde, Jean-Louis Prieur or Aubert Parent. It is thus him who seems to have given them the taste for antique motifs: the bucrane, the heavy drapery, the snake, even more the congelation. It is especially characterised by the extensive use of the garland, either laurel or oak, and flowers.<\/span>","value":"

Neoclassical taste and Greek influence<\/h3>\r\n

This pair of andirons is perfectly in keeping with the neoclassical trend of the 1770s.<\/p>\r\n

As early as the 1750s, in response to the claims of a small group of critics who, denouncing the extravagance of rocaille, aspired to rediscover the \"noble simplicity\" of the masters of Antiquity, an increasingly pronounced taste for neoclassical vocabulary began to emerge. The trip to Italy organized by the Marquise de Pompadour to train the taste of her brother, Abel Poisson, Marquis de Vandi\u00e8res, future Director General of the King's Buildings, in the company of the engraver Charles-Nicolas Cochin, the architect Jacques-Germain Soufflot and the Abb\u00e9 Leblanc between November 1749 and March 1751, was considered at the time to mark the emergence of the \"Greek taste\". This was followed in December 1754 by the publication in the Mercure de France of a \"supplication aux Orf\u00e8vres, Ciseleurs, Sculpteurs en bois pour les appartements et autres<\/em>\" by Louis-S\u00e9bastien Mercier, a veritable plea for straight lines, respect for proportions and balance, and an urgent reminder of the nobility of the ancient ornamental repertoire. And so, in the 1760s, this new taste took hold of the capital. Painters, cabinetmakers and bronzemakers all responded to the new taste, prefiguring the vocabulary developed in the Louis xvi<\/span> period. Characteristic of the powerful treatment of bronzes in this style, this pair of andirons, with its tripod vase with rams' heads and hooves, its friezes of piastres, its frieze of entrelacs or its motifs of rudent\u00e9es fluting, also displays all the vocabulary of this style.<\/p>\r\n\r\n

Jean-Charles Delafosse (1734-1789)<\/h3>\r\n

Born in Paris in 1734 and the son of a wine dealer established in the rue du Roi de Sicile<\/em>, he began his career as an apprentice with the sculptor Jean-Baptiste Poulet, a directeur-garde<\/em> at the Acad\u00e9mie de Saint-Luc<\/em>, path he quickly abandoned.<\/p>\r\n

The first known work of Jean-Charles Delafosse dates back to the year 1763. It is a drawing preserved today in the Biblioth\u00e8que de l\u2019\u00c9cole des Beaux-Arts<\/em> presenting a Projet de pi\u00e9destal pour la statue de Louis xv<\/span><\/em>\u00a0(EBA 1944).<\/p>\r\n

In 1766, he presents himself as an architect and published then a M\u00e9moire pour une Boucherie et Tuerie g\u00e9n\u00e9rale servant \u00e0 la consommation de la ville de Paris, laquelle Tuerie serait plac\u00e9e dans l'isle des Cygnes<\/em>, which had no follow up. It is likely that he was already working for his repository entitled Nouvelle iconologie historique ou Attributs hi\u00e9roglyphiques, qui ont pour objet les quatre \u00e9l\u00e9ments, les quatre saisons, les quatre parties du monde et les diff\u00e9rentes complexions de l'homme<\/em>. The latter, constituted of 800 plates was engraved and assembled in 10 books by Delafosse and published in Paris in 1768. Major work, from which we can find the original drawing of a pair of wall-lights (Cahier de 6 girandoles et bras de chemin\u00e9es<\/em>, pl. 4). Sold 48 gold pound, the repository included at first a serie of trophies characterised by a strict neoclassical style. Delafosse from there on only completed his work by including additional booklets that permitted him to express himself in all the domains of the interior and decorative arts.<\/p>\r\n

In 1767, he gave himself the title of architect and professor for the drawing, then in 1775, the one of vice professor for the geometry and perspective at the Acad\u00e9mie de Saint-Luc<\/em>. At the same time, he moved to the rue Poissonni\u00e8re<\/em> and conquered the rue Neuve Saint-Martin<\/em>. Delafosse became member of the Acad\u00e9mie de Bordeaux<\/em>, in 1781, following remarkable sending to the Salon of this city.<\/p>\r\n

He multiplied the models of furniture, chairs, luminary, vases and objects of all sorts which, if they were not directly and faithfully copied by the artists and craftsmen in the same capacity that were, for example, many furniture and objects drawned by Richard de Lalonde, inspired nevertheless considerably the productions of the latter.<\/p>\r\n

Proof of his success, Delafosse wrote a new version of his first repository in 1771, with the same title, but with 18 booklets instead of 10, edited by Daumont, rue Saint-Martin<\/em> and Chereau, rue des Mathurins<\/em>. Between 1773 and 1785 he published, in addition to independent pieces and a repository of orders of architecture, two other main repositories. The first, titled Vingt-quatre diff\u00e9rents cahiers de d\u00e9coration, sculptures, orf\u00e8vreries et ornements divers <\/em>that complement the work of Jean-Charles Delafosse and follow its Nouvelle iconologie historique [\u2026]<\/em>, also includes works by other ornementalists such as Puisieux fils and A. Le Canu. The second is essentially about furniture, rich of 134 plates, some of which reveal a collaboration with other artists, bringing together more than 200 models.<\/p>\r\n

The biggest virtue of Delafosse was his imagination which conducted him to give names of pure fantasy to his creations, talking about \u201cpaphose en gondole<\/em>\u201d, \u201cconvalescente<\/em>\u201d, \u201cobligeante<\/em>\u201d to designate a armchair, or even more a \u201cveilleuse \u00e0 la turque<\/em>\u201d. Delafosse was one of the principal initiators of this \u201cGreek taste\u201d which was a craze in Paris in 1765.<\/p>\r\nHe influenced a number of Louis xvi<\/span> period ornementalists such as Mathieu Liard, Boucher fils, Jean-Fran\u00e7ois Forty, Richard de Lalonde, Jean-Louis Prieur or Aubert Parent. It is thus him who seems to have given them the taste for antique motifs: the bucrane, the heavy drapery, the snake, even more the congelation. It is especially characterised by the extensive use of the garland, either laurel or oak, and flowers.<\/span>","field":{"ID":617,"key":"field_67e67ebc1f746","label":"Histoire de l'objet","name":"histoire_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":6,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"histoire_de_lobjet","_valid":1}},"bibliographie":{"simple_value_formatted":"

Bibliography<\/h3>\n
    \n
  • Hans Ottomeyer, Peter Pr\u00f6schel, Vergoldete Bronzen: die Bronzenarbeiten des Sp\u00e4tbarock und Klassizismus,<\/em> M\u00fcnchen, Klinkhardt & Biermann 1986, p. 200.<\/li>\n<\/ul>\n
      \n
    • Marie-Laure de Rochebrune (dir.), El gusto \u201ca la griega\u201d. <\/em>Nacimiento del neoclasicismo franc\u00e9s<\/em>, Madrid, Palacio Real, Lisboa, Museo Calouste Gulbenkian, funda\u00e7ao Calouste Gulbenkian, 2007.<\/li>\n<\/ul>\n
        \n
      • Pierre Verlet, Les bronzes dor\u00e9s fran\u00e7ais du xviii<\/span>e si\u00e8cle<\/em>, Paris, Picard, 1987.<\/li>\n<\/ul>\n","value_formatted":"

        Bibliography<\/h3>\r\n
          \r\n \t
        • Hans Ottomeyer, Peter Pr\u00f6schel, Vergoldete Bronzen: die Bronzenarbeiten des Sp\u00e4tbarock und Klassizismus,<\/em> M\u00fcnchen, Klinkhardt & Biermann 1986, p. 200.<\/li>\r\n<\/ul>\r\n
            \r\n \t
          • Marie-Laure de Rochebrune (dir.), El gusto \u201ca la griega\u201d. <\/em>Nacimiento del neoclasicismo franc\u00e9s<\/em>, Madrid, Palacio Real, Lisboa, Museo Calouste Gulbenkian, funda\u00e7ao Calouste Gulbenkian, 2007.<\/li>\r\n<\/ul>\r\n
              \r\n \t
            • Pierre Verlet, Les bronzes dor\u00e9s fran\u00e7ais du xviii<\/span>e si\u00e8cle<\/em>, Paris, Picard, 1987.<\/li>\r\n<\/ul>","value":"

              Bibliography<\/h3>\r\n
                \r\n \t
              • Hans Ottomeyer, Peter Pr\u00f6schel, Vergoldete Bronzen: die Bronzenarbeiten des Sp\u00e4tbarock und Klassizismus,<\/em> M\u00fcnchen, Klinkhardt & Biermann 1986, p. 200.<\/li>\r\n<\/ul>\r\n
                  \r\n \t
                • Marie-Laure de Rochebrune (dir.), El gusto \u201ca la griega\u201d. <\/em>Nacimiento del neoclasicismo franc\u00e9s<\/em>, Madrid, Palacio Real, Lisboa, Museo Calouste Gulbenkian, funda\u00e7ao Calouste Gulbenkian, 2007.<\/li>\r\n<\/ul>\r\n
                    \r\n \t
                  • Pierre Verlet, Les bronzes dor\u00e9s fran\u00e7ais du xviii<\/span>e si\u00e8cle<\/em>, Paris, Picard, 1987.<\/li>\r\n<\/ul>","field":{"ID":780,"key":"field_67f660ee47359","label":"Bibliographie","name":"bibliographie","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":7,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"bibliographie","_valid":1}},"etat_de_lobjet":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":618,"key":"field_67e67ee61f747","label":"\u00c9tat de l'objet","name":"etat_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":8,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"etat_de_lobjet","_valid":1}},"informations_complementaires":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":619,"key":"field_67e67efb1f748","label":"Informations compl\u00e9mentaires","name":"informations_complementaires","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":9,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"informations_complementaires","_valid":1}},"":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":785,"key":"field_67f6616f4735e","label":"","name":"","aria-label":"","prefix":"acf","type":"text","value":null,"menu_order":10,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"title","default_value":"","maxlength":"","placeholder":"","prepend":"","append":"","wpml_cf_preferences":2,"_name":"","_valid":1}}},"mb":[],"mfb_rest_fields":["title"],"_links":{"self":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product\/1090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/media\/2614"}],"wp:attachment":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=1090"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_brand?post=1090"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_cat?post=1090"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_tag?post=1090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}