the grotesque decor with mythological figures and trophies 

Collection of Edouard van Nerom in his hôtel particulier, Brussels, thence by descent

Related litterature: 
- F. Teynac et al., Le Monde du Papier Peint, Paris, 1981, pp. 86-94
- B. Jacqué, Les papiers peints en arabesques de la fin du XVIIIe siècle, Paris, 1995

The illustration of the catalogue is accurate despite being too dark. There are some dents, marks and scratches to the wallpapers panels due to age and handling. There are some cracks. The junctions between the paper strips are slightly visible. There are some old fixation holes traces on the lower part of the panels. There are traces of glue between the pilasters and the central panels and on the upper and lower parts. The panel with the tritons: There are one horizontal and one vertical crack to the center part. The panel with the eagle: There are some flacking areas to the lower part. There are two losses to the canevas with restoration on the lower part. There are 3 vertical cracks to the center of the panel. The panel with the pastoral trophy: There are some cracks to the center panel. The panel with the wine grapes: There are some losses to the lower part. There is a vertical crack and flacking areas around the lower vase (folding traces). The wallpapers were previously tended on a canevas and recently re-tended. Each panel had been tended in a new aluminium frame. Each pair of the 4 pairs of pilasters has been united to a large panel but could be easily divided to regain their original shapes. The suite of wallpapers panels would benefit from a gentle restoration to regain their vivid colours. Very decorative panels.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In terms of their beauty and technical perfection, these beautiful panels represent the apex of wallpaper production of the late eighteenth century in France. Jean-Baptiste Réveillon (1725 - 1811) endorsed the use of wallpaper in interior decoration to become an important element in its own right, allowing it to be regarded in a similar vein as leather and upholstery. Interior decoration during the reign of Louis XVI affirmed that it was no longer just a substitute to imitate precious fabrics. Madame de Pompadour, through her brother, the Marquis de Marigny, the intendant des Bâtiments du Roi, introduced this new approach to Versailles, thereby allowing for the Royal acknowledgment and success of Jean-Baptiste Réveillon.

At the same time, the interest in the archaeological rediscoveries of Pompeii, Herculaneum and Paestum was being reinterpreted by artists such as Jean-Baptiste Huet, Prieur, Joseph Laurent Malaine or Lavallée-Poussin, including two sets of etchings by Piranese entitled, Vassi-Cippi-Candelabri of 1778 and Les Arabesques des Bains de Livie dans la Villa Adrienne of 1789.

Réveillon took advantage of the technical advances of the second half of the eighteenth century for the manufacturing of wallpaper. His flourishing business, established in 1763 in the famous Folie-Titon on rue Charonne, employed three hundred workers by1789 and obtained the title of Manufacture Royale in 1783 and 1784. A master in the art of communication, Réveillon skillfully dissem꧃inated the news to the press about the construction of the first hot-air balloon at the Foili-Titon factory, and up until the French Revolution, it became a prestigious destination for foreigners visiting Paris.