Important bergère attributed to Pierre Nogaret, Lyon, circa 1750

A rare solid walnut bergère of the "coin de feu" (fireside) type.
It features a high, pronouncedly violin-shaped backrest, armrests with vigorous "whiplash" curves, and delicately shaped seat rails finely carved with small floral motifs; it rests on four cabriole legs terminating in scroll feet.
Crafted from beautiful, very tight-grained black walnut.
Excellent state of preservation; minor restorations consistent with age and use.

Natural horsehair upholstery and fabric covering fully restored in our workshop.

Louis XV period work attributed to the chair-maker Pierre Nogaret, Lyon, circa 1750.

Dimensions:
Height: 98 cm; Width: 77 cm; Depth: 80 cm

Pierre NOGARET (1718–1771), admitted as a Master chair-maker in Lyon in June 1745.

Our assessment:
This remarkable *bergère en cabriolet* stands out for its truly exceptional proportions, designed above all for comfort. It rests on short cabriole legs that give the seat a particularly low profile—a hallmark of the "coin de feu" model. This low elevation allowed the sitter to position themselves as close as possible to the hearth to fully enjoy the fire's warmth. This design is complemented by an unusually high backrest; its enveloping shape fully contours to the occupant's back. Acting as a true shield against drafts, it also helped circulate heat around the body, making the chair exceptionally comfortable during the winter months.
The vigor of the design—characterized by armrests with dynamic "whiplash" curves, an elegant violin-shaped back, and delicately carved, shaped rails—combined with telling construction details (such as the tapering of the rails and the presence of reinforcing cross-braces), constitutes a set of features characteristic of Pierre Nogaret’s style. These stylistic and technical features—recurring elements in seating from his workshop—allow this remarkable *bergère* to be attributed to him.

Pierre Nogaret, a renowned provincial master chair-maker, stamped his pieces "Nogaret A Lyon." It was in Lyon that this Parisian chose to settle. A chair of his making is instantly recognizable: a subtle interplay of curves and counter-curves, a distinctive flared armrest, a "whiplash" arm support, and refined moldings. Balance and verve, elegance and movement are the terms most often used to define his style. Finally, impeccable quality—evident in the construction, the choice of woods, and the care taken with joinery—ensures that his creations stand the test of time. The influence of Tilliard and Cresson—the former regarding line, the latter regarding carving—demonstrates that Nogaret had mastered the expertise of the Parisian masters.

Pierre Nogaret, a famous master of provincial chairs, stamped himself "Nogaret A Lyon."

This Parisian chose to settle in Lyon. A chair by his hand is recognizable at a glance: a subtle play of curves and counter-curves, a typical, very flared armrest, a whiplash console, a play of moldings. Balance and liveliness, elegance and movement, are the terms that most often come up to define his style. Finally, impeccable quality in the construction, in the choice of wood species and the care taken with the connecting elements make his productions stand the test of time. The influence of Tilliard and Cresson, one for the line, the other for the sculpture, proves that Nogaret mastered the know-how of the Parisian masters.