Doublure tapisserie pour testeur (ciel pour lit à la vitesse en impériale) ca.1780–90 Tapisserie fabriquée à Beauvais comme sa voûte pleine grandeur en forme de dôme est suspendue au plafond plutôt que soutenue sur des poteaux, ce banc d'essai, qui porte le timbre du menuisier Georges Jacob, est un type appelé éclairé à la duchesse en impériale.Ses tentures originales mais maintenant fragiles, tissées en 1782–83 à la manufacture de tapisserie de Beauvais, d'après les dessins de Jean-Baptiste Huet (1745–1811), ont été remplacées par un Damas moderne en soie, à l'exception de la doublure du dôme intérieur.Les lits français du XVIIIe siècle avaient tendance à être élevés, tout comme

• Contributeur: MET/BOT / Alamy Banque D'Images
• ID de l’image: 2HHA7XW
• Taille du fichier: 8 MB (392,1 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1532 x 1832 px | 25,9 x 31 cm | 10,2 x 12,2 inches | 150dpi
• Date de la prise de vue: 22 janvier 2022

Informations supplémentaires

Cette image appartient au domaine public, ce qui signifie que le droit d’auteur a expiré ou que le titulaire du droit d’auteur a renoncé à ses droits. Les frais facturés par Alamy couvrent l’accès à la copie haute résolution de l’image.

Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

Tapestry lining for tester (ciel for lit à la duchesse en impériale) ca. 1780–90 Tapestry made at Beauvais As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782–83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745–1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721–1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737–1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767–1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in