Boudoir from the Hôtel de Crillon
•Designer: Pierre-Adrien Paris (French, 1747-1819)
•Date: ca. 1777-1780
•Culture: French, Paris
•Medium: Oak, painted and gilded
•Dimensions:
oOverall: 9 ft. 3½ in. × 15 ft. 5½ in. × 14 ft. 3 in. (283.2 × 471.2 × 435.6 cm)
•Classification: Woodwork
•Credit Line: Gift of Susan Dwight Bliss, 1944
•Accession Number: 44.128
On check out at The Satisfied Fifth Avenue in Gallery 546.
[Arabesques] are an inexhaustible source of approaches to enhance in a gorgeous design the interior and exterior of contemporary properties, home furniture, and even apparel.
—Charles-Louis Clérisseau, 1779
Pleasant arabesques painted in pastel shades on a soft blue ground variety the chief decoration of this paneling, which after lined the walls of a boudoir situated subsequent to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), just one of the four Very first Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished town house that experienced been manufactured for the builder and entrepreneur Louis-François Trouard (1729-1794). It was a single of numerous non-public mansions erected powering a facade developed in a grand Neoclassical style by Jacques-Ange Gabriel (1698-1782) on the position Louis XV, now the put de la Concorde.
A male of style as nicely as a major artwork collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to style and design the interior decoration for his new abode. Owning studied in Rome, partly at the duke’s price, Pâris would have been acquainted with the early sixteenth-century ornamental wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s perform plainly served as inspiration for the embellishment of the Museum’s paneling, as it reveals similar charming and lighthearted motifs, these as modest animals balancing on garlands and rolling acanthus scrolls. The exterior windows of this intimate polyhedral boudoir, which was painted by an unknown artist, gave obtain to a balcony with sights toward the rue des Champs-Élysées (now the rue Boissy d’Anglas). Set into the wall paneling are 4 mirrors angled to mirror the arabesque decoration. (The mirror inside of the market is a replacement for the authentic pane of clear glass that permitted gentle to glow into the stairwell guiding the place.) According to the 1782 stock drawn up immediately after the duke’s dying, the boudoir was furnished with four stools, two armchairs, and an ottomane, or comfy couch, described as obtaining three backs. Just about every stool was most likely put under one of the mirrors, and the ottomane, entire with cushions, pillows, and bolsters, need to have stood inside the niche. All the seat furnishings was upholstered in blue moiré silk, the very same colour as that of the gros de Excursions (ribbed silk) curtains. While most of the furnishings and collections of the duc d’Aumont were marketed at a celebrated auction that took location in the residence in 1782, the woodwork of this area stayed in the creating. The hôtel was obtained 6 decades later on by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the property of his descendants until the early twentieth century.
Epigraph. Quoted in Hautecoeur 1912, p. 46.
Provenance
Hôtel de Crillon, 10, Place de la Concorde, Paris, France Louis Trouard (by 1776) Félix François Dorothée Berton des Balbes, Comte de Crillon (1788-d. 1827) Marie Louise Amélie Berton des Balbes (duchesse de Polignac) (right up until d. 1904) Duc(s) de Polignac (till 1906 sold to Bliss, by means of Mme Gaëton Désache (née Flandin), January 13, 1906) Mrs. George T. Bliss (from 1906) Susan Dwight Bliss , New York (until eventually 1944 to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Artwork
•Period Rooms in The Metropolitan Museum of Art
•Dangerous Liaisons: Style and Home furnishings in the Eighteenth Century
Daybed (Lit De Repos or Sultane) (Aspect of a Set)
•Maker(s): Jean-Baptiste-Claude Sené (1748-1803) Painted and Gilded by Louis-François Chatard (ca. 1749-1819)
•Date: 1788
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut fashionable cotton twill embroidered in silk
•Dimensions: 36½ (Peak) × 69 in. (Width) × 31½ in. (Depth) (92.7 × 175.3 × 80. cm)
•Classification: Woodwork-Home furnishings
•Credit Line: Reward of Ann Payne Blumenthal, 1941
•Accession Quantity: 41.205.1
On perspective at The Satisfied Fifth Avenue in Gallery 546.
The Palace of St. Cloud belongs to the Duke of Orleans, is situated on the declivity of a mountain washed by the Seine….. The perspective from the dwelling is pleasant.
—Harry Peckham, A Tour via Holland . . .and Element of France
Louis XVI ordered the state residence of the duc d’Orléans a few miles west of Paris for Marie-Antoinette in 1785. Staying in want of renovation, the palace was enlarged and altered for the queen, and many parts of home furniture were commissioned from Jean-Baptiste-Claude Sené. A member of an critical dynasty of Parisian chairmakers, Sené experienced been appointed menuisier to the Crown in 1784.
A thorough 1788 description of this set, which also incorporated 4 matching armchairs and a stool, implies that the parts were intended for one particular of Marie-Antoinette’s non-public rooms at Saint-Cloud, her Cabinet Particulier. The body of the daybed, originally extended but shortened at a afterwards date, is embellished with carving of ivy on the seat rail and garlands of roses alongside the crest rail. Ionic capitals surmount the small legs, and most impressive of all are the Egyptian female 50 percent-figures on tapering supports that decorate the entrance stiles. Even however in his monthly bill Sené named them only caryatids, these figures obviously specific the queen’s flavor for ornament derived from ancient Egyptian artwork, well prior to Napoléon’s North African campaign produced it stylish. Equivalent ornament is found on the bergère (a relaxed armchair upholstered between the arms and the seat), which, in addition, has a medallion on major with Marie-Antoinette’s initials framed by myrtle branches and roses. The matching display, nevertheless, shows classical female figures on its ft and top rail. However, the identification of the sculptor is not regarded, but Louis-François Chatard is documented as getting painted and gilded the wooden surfaces.
The 1789 inventory of Saint-Cloud documents the overall suite in the queen’s Cupboard de Toilette, or dressing space. Listed by its demonstrate covers, as was customary for seat household furniture, the set is explained as staying upholstered in white cotton twill, embroidered with a small floral ornament in silk. Regarded to have labored on needlepoint assignments all her lifestyle, Marie-Antoinette did the embroidery herself, which she executed in satin sew. Present day replicas of the queen’s handiwork, like her interlaced monogram on the panel of the fireplace display, grace the frames of the furnishings today. The vibrant floral embroidery on the light-weight cotton floor conveys a sense of summer season, the time Marie-Antoinette favored to expend at Saint-Cloud.
Epigraph. Peckham 1788, p. 199.
Provenance
Marie Antoinette, Queen of France, Cabinet de Toilette, Palace of Saint-Cloud, France (by 1788) Marquis de Casaux (right up until 1923 sale, Hôtel Drout, Paris, December 21, 1923, No. A) George and Florence Blumenthal (from 1923) Ann Payne Blumenthal (until finally 1941 to MMA).
Timeline of Artwork History
•Essays
oEmpire Design and style, 1800-1815
oFrench Home furnishings in the Eighteenth Century: Seat Furnishings
oThe Golden Age of French Furniture in the Eighteenth Century
oThe Neoclassical Temple
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•A Guidebook to the Wrightsman Galleries at The Metropolitan Museum of Artwork
•“French Royal Home furnishings in The Metropolitan Museum of Art”: The Metropolitan Museum of Artwork Bulletin, v. 63, no. 3 (Wintertime, 2006)
•European Furnishings in The Metropolitan Museum of Art: Highlights of the Collection
•Dangerous Liaisons: Style and Home furnishings in the Eighteenth Century
Posted by Autistic Reality on 2018-11-05 16:01:34
Tagged: , French Decorative Arts , Crillon Home , French , Decorative Arts , France , French Arts , Ornamental , Arts , Interior , Within , Indoors , Composition , Downtown , Downstate , Metropolitan Museum , The Fulfilled , The Metropolitan Museum of Artwork , Metropolitan Museum of Artwork , Architecture , New York , New York Point out , New York City , Point out of New York , Setting up , Museum , Museums , Artwork , Usa , US , United States , United States of The usa , The usa , New York County , Manhattan , Artwork Museum , Artwork Museums , Landmark , Central Park , Fifth Ave , Fifth Avenue , European Sculpture and Attractive Arts , Sculpture , Europe , European Sculpture , European Ornamental Arts , Wrightsman Galleries , Wrightsman , Galleries , Pierre-Adrien Pâris , Louis-Marie-Augustin , Duc d’Aumont , Boudoir , Neoclassical Style , Jacques-Ange Gabriel , Neoclassical , François-Félix-Dorothée des Balbes de Berton , Comte de Crillon , Paris , 2018
#home furnishings #Do it yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wooden planer, great woodworking, picket chairs, wood performing instruments, preferred woodworking, woodworking textbooks, woodworking workbench strategies