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 Variety: 44.128
On watch at The Met Fifth Avenue in Gallery 546.
[Arabesques] are an inexhaustible supply of ways to decorate in a wonderful design and style the interior and exterior of present day structures, household furniture, and even dresses.
—Charles-Louis Clérisseau, 1779
Pleasant arabesques painted in pastel hues on a delicate blue ground sort the main decoration of this paneling, which the moment lined the partitions of a boudoir found upcoming to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), one of the four Initial Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished city residence that had been constructed for the builder and entrepreneur Louis-François Trouard (1729-1794). It was just one of various non-public mansions erected driving a facade created in a grand Neoclassical model by Jacques-Ange Gabriel (1698-1782) on the put Louis XV, now the location de la Concorde.
A male of taste as properly as a sizeable art collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to structure the interior decoration for his new abode. Owning studied in Rome, partly at the duke’s price, Pâris would have been familiar with the early sixteenth-century decorative wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s operate evidently served as inspiration for the embellishment of the Museum’s paneling, as it shows similar charming and lighthearted motifs, these types of as little animals balancing on garlands and rolling acanthus scrolls. The exterior home windows of this personal polyhedral boudoir, which was painted by an unidentified artist, gave entry to a balcony with sights towards the rue des Champs-Élysées (now the rue Boissy d’Anglas). Established into the wall paneling are 4 mirrors angled to mirror the arabesque decoration. (The mirror inside the niche is a substitute for the original pane of very clear glass that allowed light-weight to glow into the stairwell driving the room.) In accordance to the 1782 stock drawn up following the duke’s demise, the boudoir was furnished with 4 stools, two armchairs, and an ottomane, or comfy couch, described as possessing a few backs. Each individual stool was most very likely put beneath one particular of the mirrors, and the ottomane, entire with cushions, pillows, and bolsters, have to have stood inside of the market. All the seat furnishings was upholstered in blue moiré silk, the exact same color as that of the gros de Excursions (ribbed silk) curtains. While most of the furnishings and collections of the duc d’Aumont were bought at a celebrated auction that took put in the house in 1782, the woodwork of this space stayed in the developing. The hôtel was obtained six several years later by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the residence of his descendants right up until the early twentieth century.
Epigraph. Quoted in Hautecoeur 1912, p. 46.
Provenance
Hôtel de Crillon, 10, Location 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) (until d. 1904) Duc(s) de Polignac (till 1906 offered 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 1944 to MMA)
Timeline of Artwork History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Attractive Arts, The Metropolitan Museum of Artwork
•Period Rooms in The Metropolitan Museum of Art
•Dangerous Liaisons: Trend and Home furniture in the Eighteenth Century
Daybed (Lit De Repos or Sultane) (Component of a Established)
•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 present day cotton twill embroidered in silk
•Dimensions: 36½ (Top) × 69 in. (Width) × 31½ in. (Depth) (92.7 × 175.3 × 80. cm)
•Classification: Woodwork-Home furnishings
•Credit Line: Present of Ann Payne Blumenthal, 1941
•Accession Range: 41.205.1
On view at The Fulfilled 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 check out from the house is delightful.
—Harry Peckham, A Tour as a result of Holland . . .and Aspect of France
Louis XVI acquired the nation home of the duc d’Orléans a handful of miles west of Paris for Marie-Antoinette in 1785. Currently being in need to have of renovation, the palace was enlarged and altered for the queen, and quite a few pieces of furniture had been commissioned from Jean-Baptiste-Claude Sené. A member of an important dynasty of Parisian chairmakers, Sené had been appointed menuisier to the Crown in 1784.
A comprehensive 1788 description of this established, which also integrated 4 matching armchairs and a stool, implies that the pieces were being meant for 1 of Marie-Antoinette’s private rooms at Saint-Cloud, her Cabinet Particulier. The body of the daybed, originally for a longer time but shortened at a later day, 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 remarkable of all are the Egyptian feminine 50 %-figures on tapering supports that enhance the entrance stiles. Even however in his invoice Sené known as them basically caryatids, these figures clearly specific the queen’s taste for ornament derived from ancient Egyptian artwork, nicely before Napoléon’s North African marketing campaign built it trendy. Similar ornament is discovered on the bergère (a cozy armchair upholstered amongst the arms and the seat), which, in addition, has a medallion on top rated with Marie-Antoinette’s initials framed by myrtle branches and roses. The matching display, on the other hand, displays classical female figures on its feet and leading rail. Sadly, the id of the sculptor is not identified, but Louis-François Chatard is documented as owning painted and gilded the picket surfaces.
The 1789 inventory of Saint-Cloud records the whole suite in the queen’s Cabinet de Toilette, or dressing place. Outlined by its show handles, as was customary for seat household furniture, the established is explained as remaining upholstered in white cotton twill, embroidered with a modest floral ornament in silk. Recognized to have worked on needlepoint projects all her lifestyle, Marie-Antoinette did the embroidery herself, which she executed in satin stitch. Contemporary replicas of the queen’s handiwork, together with her interlaced monogram on the panel of the fire display, grace the frames of the household furniture these days. The colorful floral embroidery on the mild cotton floor conveys a feeling of summer season, the season Marie-Antoinette favored to commit at Saint-Cloud.
Epigraph. Peckham 1788, p. 199.
Provenance
Marie Antoinette, Queen of France, Cupboard de Toilette, Palace of Saint-Cloud, France (by 1788) Marquis de Casaux (until eventually 1923 sale, Hôtel Drout, Paris, December 21, 1923, No. A) George and Florence Blumenthal (from 1923) Ann Payne Blumenthal (until 1941 to MMA).
Timeline of Art Historical past
•Essays
oEmpire Design and style, 1800-1815
oFrench Furniture in the Eighteenth Century: Seat Home furnishings
oThe Golden Age of French Home furnishings in the Eighteenth Century
oThe Neoclassical Temple
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art
•“French Royal Home furniture 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 Artwork: Highlights of the Selection
•Dangerous Liaisons: Manner and Home furnishings in the Eighteenth Century
Posted by Autistic Actuality on 2018-11-05 16:01:35
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