Viaje a EEUU – Día 9
Panorámica a partir de 15 fotos.
Maker:Created by Nicolas Huyot (1700–1791)
Maker: Carved by Pierre Fixon (active 1748–88)
Maker: and/or his son Louis-Pierre Fixon (born 1748)
Maker: Chimneypiece by Jean-Baptiste-Antoine Lefranc
Maker: Contracted by Louis Le Tellier (ca. 1700–1785)
Date:ca. 1768–72, with afterwards additions
Culture:French, Paris
Medium:Carved, painted, and gilded oak marble plaster
Proportions:H. of room 16 ft. (4.87 m), W. 29 ft. 6-1/2 in. (9 m), L. 33 ft. 7-1/2 in. (10.25 m)
Classification:Woodwork
Credit rating Line:Present of Mrs. Herbert N. Straus, 1942
Accession Selection:42.203.1
On perspective at The Met Fifth Avenue in Gallery 528
The salon is the assembly home, applied for festive situations. It is here that the finest formality prevails in this room, magnificence should unfold wealth need to be lavished and the Artist need to deploy his flavor and his genius. Marbles, bronzes, gilding, sculpture, painting, and eyeglasses will appear to his help tapestries, which we have lifted to these a diploma of elegance, may perhaps enrich the outcome. Rock crystal for the lusters, girandoles, and candelabra valuable statues the richest of vases the rarest of porcelains all may possibly incorporate to make improvements to the place. — Nicolas Le Camus de Mézières, Le Génie de l’architecture
Adhering to a disastrous fireplace, the residence at 1, quai Voltaire, was rebuilt concerning 1765 and 1768 at the behest of the widowed Marie-Charlotte de Béthune-Charost, comtesse de Tessé (1713–1783), and her son René Mans de Froulay (1736–1814), who had obtained the ruined creating on the condition that a new mansion would be constructed. Whilst present-day guidebooks credit score the types to the architect Pierre-Noël Rousset (1715–1793), it seems that the architect-contractor Louis Le Tellier (ca. 1700–1785) was generally liable for the creation of this Paris property with its dignified facade, nonetheless standing today on the still left bank of the Seine, near the Pont du Carrousel. Because the accounts had been not settled until eventually April of 1772, it is very likely that the interior decoration was not completed just before then. The Museum’s paneling with its refined carving in the Neoclassical design was the work of woodworker Nicolas Huyot, a maître menuisier about whom little is acknowledged.
The carving was finished by the sculptor Pierre Fixon or his son Louis-Pierre, or potentially the two in collaboration. The Fixons might also have established the plaster overdoor reliefs representative of the four seasons. The marble sculptor Jean-Baptiste-Antoine Le Franc, who like the Fixons experienced labored with Le Tellier on a variety of other assignments, was accountable for the blue turquin marble mantelpiece, which is unique to the space. The paneling acquired by the Museum adorned the biggest of the official reception rooms that ended up aligned, or laid out en enfilade, on the 1st ground of the constructing (the American next flooring). Especially lovely are the coffered triumphal arches executed in viewpoint that frame the 4 mirrors and are crowned by laurel branches and floral wreaths. The 1783 inventory drawn up just after the dying of the comtesse de Tessé indicates that this home was termed the Salle du Dais (Canopy Area) just after the substantial tester or canopy that must have been mounted on the wall reverse the windows. Underneath this crimson damask tent, which was enriched with gold embroidered appliqués of the Tessé household coat of arms, the comtesse or her son presumably received their visitors. While not of royal birth, Madame de Tessé was the widow of René Mans de Froulay (1707–1742), comte de Tessé and marquis de Laverdin, as nicely as a Spanish grandee. In addition to a sixleaf folding chamber monitor, the area was furnished with 20-nine chairs all lined with different crimson fabrics, a compact veneered bookcase, and a gilt-bronze cartel clock with movement by Voisin. Numerous relatives portraits and two tapestries of landscape scenes ended up hung on the aspect partitions. The 1783 stock of the hôtel did not checklist any curtains in the room most likely none were hung, in purchase not to obscure the charming watch from the a few massive windows of the Seine and the Louvre and Tuileries palaces throughout the h2o.
Epigraph. Le Camus de Mézières 1780/1992, p. 111.
Section
European Sculpture and Attractive Arts (42,455)
Artist / Maker / Lifestyle
Louis-Pierre Fixon (1)
Pierre Fixon (1)
Nicolas Huyot (1)
Louis Le Tellier (1)
Jean-Baptiste-Antoine Lefranc (1)
Object Form / Substance
Gilt (9,167)
Marble (2,198)
Oak (1,176)
Portray (6,273)
Plaster (2,742)
Wooden (15,082)
Woodwork (2,296)
Geographic Place
Europe (168,004)
France (55,728)
Paris (6,770)
Day / Period
A.D. 1600–1800 (75,152)
www.metmuseum.org/artwork/assortment/research/199118
Posted by Luis Pérez Contreras on 2017-11-29 21:37:00
Tagged: , Grand Salon from the Hôtel de Tessé , Viaje , EEUU , United states of america , trip , 2017 , Olympus , m4/3 , m.Zuiko , OM-D , E-M1 , Manhattan , NYC , New York , Nueva York , Estados Unidos , The Achieved , Metropolitan Museum of Artwork , Paris , Panorámica , panorama
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