ATTRIBUTED TO GEORGES JACOB (1739-1814), PAIR OF ARMCHAIRS WITH GENDARME HAT QUEEN BACKS, LOUIS XVI PERIOD Cream-coloured, moulded and carved wood, decorated with ribboned rushes, acanthus leaves, rosettes and fluting. The flat back decorated at the ends with plumet, the armrests trimmed with cuff, the curved arm supports dying into a pedestal, the tapered and fluted legs. (Damage to the upholstery, minor accidents, wear and tear, one end of a plumeet missing). A pair of cabriolet armchairs attributed to Georges Jacob, Louis XVI period, 18th century H. 93 - W. 61 - D. 52,50 CM - H. 6,6 - W. 24 - D. 20,7 IN. Georges Jacob (1739-1814) established himself as the great master of the chair in the 18th century. He received his master's degree on 4 September 1765, and from the reign of Louis XV to the Consulate, he made chairs in all styles. He established himself as the great innovator of Neoclassicism. The tapered fluted legs, the connecting thimble adorned with a rose window and the arm brackets with large acanthus leaves are representative of his style under Louis XVI. The ingenuity of his designs and the quality of his workmanship made him the supplier to the Garde-Meuble de la Couronne. Indeed, Marie-Antoinette called on his virtuosity for the Treillage room in the Petit Trianon, as well as for the châteaux of Fontainebleau, Rambouillet, Saint-Cloud and Versailles. His prestigious clientele included members of the royal family such as Monsieur, the King's brother, the Comte de Provence, for whom he became ordinary carpenter, the Comte d'Artois, Louis XVI's second brother, and Madame Élisabeth, his sister. In addition to his Louis XVI chairs, Georges Jacob was a leading figure in Neoclassicism, producing pieces for the painter Jacques-Louis David inspired by the excavations at Herculaneum and Pompeii, which are depicted in the master's paintings. This association enabled Georges Jacob to continue his production after the fall of the Monarchy.