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: Present of Susan Dwight Bliss, 1944
•Accession Amount: 44.128
On watch at The Fulfilled Fifth Avenue in Gallery 546.
[Arabesques] are an inexhaustible resource of means to beautify in a stunning design and style the inside and exterior of modern day properties, household furniture, and even dresses.
—Charles-Louis Clérisseau, 1779
Pleasant arabesques painted in pastel colours on a tender blue ground kind the chief decoration of this paneling, which after lined the partitions of a boudoir positioned upcoming to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), one particular of the four To start with Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished town house that had been made for the builder and entrepreneur Louis-François Trouard (1729-1794). It was a single of a number of personal mansions erected behind a facade designed in a grand Neoclassical type by Jacques-Ange Gabriel (1698-1782) on the put Louis XV, now the spot de la Concorde.
A guy of taste as effectively as a important artwork collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to style the interior decoration for his new abode. Acquiring examined in Rome, partly at the duke’s expenditure, Pâris would have been common with the early sixteenth-century attractive wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s function plainly served as inspiration for the embellishment of the Museum’s paneling, as it shows equivalent charming and lighthearted motifs, this sort of as tiny animals balancing on garlands and rolling acanthus scrolls. The exterior windows of this intimate polyhedral boudoir, which was painted by an unidentified artist, gave obtain to a balcony with sights towards the rue des Champs-Élysées (now the rue Boissy d’Anglas). Established into the wall paneling are four mirrors angled to reflect the arabesque decoration. (The mirror within the specialized niche is a replacement for the primary pane of apparent glass that authorized mild to shine into the stairwell guiding the home.) According to the 1782 stock drawn up right after the duke’s demise, the boudoir was furnished with 4 stools, two armchairs, and an ottomane, or cozy couch, described as acquiring three backs. Every stool was most most likely placed beneath just one of the mirrors, and the ottomane, entire with cushions, pillows, and bolsters, should have stood within the area of interest. All the seat home furniture was upholstered in blue moiré silk, the same colour as that of the gros de Tours (ribbed silk) curtains. Though most of the furnishings and collections of the duc d’Aumont have been offered at a celebrated auction that took location in the dwelling in 1782, the woodwork of this space stayed in the setting up. The hôtel was obtained 6 decades later by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the house of his descendants until eventually the early twentieth century.
Epigraph. Quoted in Hautecoeur 1912, p. 46.
Provenance
Hôtel de Crillon, 10, Position 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 eventually d. 1904) Duc(s) de Polignac (till 1906 offered to Bliss, as a result of Mme Gaëton Désache (née Flandin), January 13, 1906) Mrs. George T. Bliss (from 1906) Susan Dwight Bliss , New York (until finally 1944 to MMA)
Timeline of Art Historical past
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Attractive Arts, The Metropolitan Museum of Art
•Period Rooms in The Metropolitan Museum of Art
•Dangerous Liaisons: Manner and Home furniture in the Eighteenth Century
Candelstand and Worktable (Desk à Ouvrage en Guéridon)
•Maker: Attributed to Roger Vandercruse, termed Lacroix (French, 1727-1799)
•Factory: Porcelain plaques by Sèvres Manufactory (French, 1740-Existing)
•Decorator: Porcelain plaques decorated by Charles Vandé (French, energetic 1785-91)
•Date: ca. 1785
•Culture: French, Sèvres
•Medium: Oak veneered with tulipwood, boxwood, holly and ebonized holly, sycamore, and other woods gentle-paste porcelain, gilt bronze, silk
•Dimensions:
oHeight: 31⅛ in. (79.1 cm)
oDiameter of Top rated: 14⅝ in. (37.1 cm)
•Classification: Woodwork-Household furniture
•Credit Line: Present of Mr. and Mrs. Charles Wrightsman, 1976
•Accession Amount: 1976.155.106
On perspective at The Met Fifth Avenue in Gallery 546.
The top rated of this classy worktable was intended to be made use of as a guéridon, to assistance a candelstick offering light-weight when the proprietor, most probable an aristocratic girl, was working on her needlepoint or stitching at night time.
Signatures, Inscriptions, and Markings
•Marking:
oGlazed on Back of Plaque and Painted in Gold: interlaced Ls enclosing GG with letter V underneath [Sèvres factory mark with date-letters for 1784]
Provenance
The Lords Hillingdon, London Edith Chester Beatty, London Mr. and Mrs. Charles Wrightsman, New York (until finally 1976 to MMA)
Timeline of Artwork Background
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Collection. Vols. 1 and 2, Home furnishings, Gilt Bronze and Mounted Porcelain, Carpets
Daybed (Lit De Repos or Sultane) (Component 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: Present of Ann Payne Blumenthal, 1941
•Accession Variety: 41.205.1
On check out at The Achieved 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 view from the residence is delightful.
—Harry Peckham, A Tour by means of Holland . . .and Aspect of France
Louis XVI ordered the place residence of the duc d’Orléans a handful of miles west of Paris for Marie-Antoinette in 1785. Currently being in require of renovation, the palace was enlarged and altered for the queen, and many pieces of home furnishings were being 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 specific 1788 description of this established, which also involved 4 matching armchairs and a stool, indicates that the items were supposed for 1 of Marie-Antoinette’s private rooms at Saint-Cloud, her Cabinet Particulier. The body of the daybed, at first extended but shortened at a later on date, is embellished with carving of ivy on the seat rail and garlands of roses along the crest rail. Ionic capitals surmount the limited legs, and most extraordinary of all are the Egyptian female fifty percent-figures on tapering supports that decorate the front stiles. Even nevertheless in his invoice Sené identified as them only caryatids, these figures clearly convey the queen’s style for ornament derived from ancient Egyptian art, well in advance of Napoléon’s North African marketing campaign made it fashionable. Very similar ornament is observed on the bergère (a comfortable armchair upholstered amongst 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, however, displays classical feminine figures on its toes and top rail. Regretably, the identity of the sculptor is not recognised, but Louis-François Chatard is documented as having painted and gilded the wooden surfaces.
The 1789 inventory of Saint-Cloud records the entire suite in the queen’s Cupboard de Toilette, or dressing area. Mentioned by its present covers, as was customary for seat furniture, the set is explained as getting upholstered in white cotton twill, embroidered with a modest floral ornament in silk. Recognized to have labored on needlepoint tasks all her lifestyle, Marie-Antoinette did the embroidery herself, which she executed in satin stitch. Modern-day replicas of the queen’s handiwork, including her interlaced monogram on the panel of the fireplace display screen, grace the frames of the home furnishings now. The vibrant floral embroidery on the light-weight cotton ground conveys a perception of summer time, the time Marie-Antoinette preferred to devote 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 (right up until 1923 sale, Hôtel Drout, Paris, December 21, 1923, No. A) George and Florence Blumenthal (from 1923) Ann Payne Blumenthal (until eventually 1941 to MMA).
Timeline of Artwork Historical past
•Essays
oEmpire Style, 1800-1815
oFrench Home furniture in the Eighteenth Century: Seat Furniture
oThe Golden Age of French Furniture in the Eighteenth Century
oThe Neoclassical Temple
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•A Tutorial 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 Home furnishings in The Metropolitan Museum of Artwork: Highlights of the Assortment
•Dangerous Liaisons: Fashion and Home furniture in the Eighteenth Century
Posted by Autistic Actuality on 2018-11-05 16:01:33
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