French 18th Century Ceremonial Seats

attributed to Michel Cresson, ca. 1740-1750

With their flat backs, large width, great depth and fine carvings resembling a bursting pomegranate, these bespoke seats can be attributed to Parisian woodworker Michel Cresson, who became a master craftsman in 1740. Peerless whether in private or public collections and not referenced in any book, this exceptional commission is an 18th century decorative arts’ rarity. The numbers written in ink above the aprons of the seats tend to show that they were part of a set of five seats or more. Armchair number 1, with its armrest located on the right, was placed on one end. Armchair number 2, with its armrest on the left, was placed on the other end. Armless chair number 5 was placed in the center; its number seems to indicate that at least two other chairs are missing (numbers 3 and 4).

In the 18th century, seats with recessed arms were made so that ladies wearing hoop skirts could sit comfortably. "Reading in a Salon", also known as "Reading from Molière", a painting by Jean-François de Troy, depicts women sitting in very large armchairs with low seats and recessed arms similar to ours, their voluminous dresses covering the lower part of the seats.
The French 18th century way of living obeyed strict etiquette rules. Days were organized following a tight schedule and punctuated with times of prayer, meals, culture, conversation, education, entertainment, games and parties. A room dedicated to "conversation, friendly entertainment and intimate gatherings" could be found in some castles such as that of Maisons-Laffitte.

These seats were probably intended for the "Time of Conversation Ceremony" and the art of discussion that were a roaring success in Bordeaux during the reign of Louis XV (or Louis the Beloved). Between 1736 and 1768, the salon of Madame Duplessis, born Jeanne Françoise Marie de Chazot, was the most popular in the city. After her husband, a parliamentary counselor, died prematurely, she started receiving political and artistic personalities as well as scholars and members of the nobility in her mansion and exchanging letters with luminaries all around Europe. Caylus, Montesquieu and Vernet were regular guests, as were the Parisian salonists Madame d'Egmont and the Duchess of Aiguillon.

Housed in the Château de La Barde in Dordogne until the French Revolution, these seats shed light on a discreet ancestor of the Vassal de La Barde family. Heiress of one of the most important families of Bordeaux, Françoise-Madeleine de Filhot married Jean de Vassal, lord of La Barde, Perdigat and Solvignac (1696-1739) in 1737. A captain in the regiment of Noailles, he died two years later and she, similarly to Madame Duplessis, became a widow at a young age while pregnant with her and her husband’s only child. Her grandson would inherit the castle of La Barde from his uncle and get the title of Marquis.
Françoise Madeleine was the granddaughter of Romain de Filhot (1641-1710), founder of the Sauternes wine appellation and creator of Château Filhot in 1709, which drew inspiration from the Trianon in Versailles. Throughout the 18th and 19th centuries, the Filhots were one of the most prominent families in Bordeaux. Many of its members went on to hold public offices in the city including Madeleine's own father, who was also a parliamentary councilor. At this time, Members of Parliament enjoyed great power and prestige in a province where there were no local estates. Between 1730 and 1755, Bordeaux - at the time one of the richest cities in Europe - was transformed by the construction of its Royal Square, which was built by Jacques Gabriel and his son Ange-Jacques Gabriel, architects to the King of France.

Our seats may have been ordered by Françoise Madeleine Filhot for her own salon or received at a later date by one of her heirs. Arranged in line to face a performance space, they are solemn witnesses of the "Time for the Arts Ceremony", during which one would rise from their seat, take the floor, recite a text or a poem, sing a song or perform a little skit and wait for the reply of other members of the gathering. They are illustrious and unique relics of a time when the Belles Lettres gave Bordeaux an unparalleled brightness on the firmament of the Age of Enlightenment.