Tag: eighteenth century

Tester Bed (Lit à la Duchesse en Impériale)

•Maker: Georges Jacob (French, Cheny 1739-1814 Paris)
•Factory: Tapestry made at Beauvais
•Artist: After a design by Jean-Baptiste Huet I (French, Paris 1745-1811 Paris)
•Date: ca. 1782-83
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut, pine, and linden; iron hardware; silk and wool Beauvais tapestry; modern silk damask
•Dimensions:
oOverall (bed components installed): 156¾ (Height) × 73½ (Width) × 86¾ in. (Depth) (398.1 × 186.7 × 220.3 cm);
oHeadboard: 79½ (Height) × 73½ in. (Width) (201.9 x 186.7 cm);
oTester at rectangular frame: 78 (Width) × (Depth) 90½ in. (198.1 x 229.9 cm);
oGreatest dims. of tester including protruding crestings: 17 (Height) × 96 (Width) × 99½ in. (Depth) (43.2 × 243.8 × 252.7 cm);
oHeight of Canopy from Floor: 156¾ in. (398.1cm)
oMatteress Support: 80 × 64 × 3½ in.
•Classification: Woodwork-Furniture
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235a

On view at The Met Fifth Avenue in Gallery 523.

As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]

The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.

[Daniëlle Kisluk-Grosheide, 2010]

Footnotes:

[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers’ Classics 11. Fontwell, Sussex, 1969, p. 43.

Signatures, Inscriptions, and Markings

•Signature:
oStamped on Base of Headboard: G. IACOB

Provenance

Possibly ordered by comte César Gabriel Choiseul-Chevigny, 1st duc de Praslin; or ordered by comte Renaud César Louis Choiseul-Chevigny, 2nd duc de Praslin; duchesse de Choiseul-Praslin Guyonne-Marguerite de Durfort de Lorge, Hôtel de Belle-Isle, Paris (by 1791); [sale, Grand Bazar, Paris, July 12, 1830; to J.E. Quinet, for Alexander Hamilton] Douglas, tenth Duke of Hamilton (?); Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton , Lanarkshire (until 1882; Hamilton Palace sale, Christie, Manson and Woods, London, July 18, 1882, lot 1912, for £ 1,155; to Edward Radley); [Edward Radley (in 1882)]; [Lowengard Frères (by 1893/94)] ; [Duveen Brothers (until 1897; sold September 1897, for $3,300 to George J. Gould)]; George Jay Gould (from 1897); Kingdon Gould (until 1923; to MMA)

Timeline of Art History

•Timelines
oFrance, 1600-1800 A.D.

Tapestry Lining for Tester (Ciel for Lit à la Duchesse en Impériale)

•Factory: Tapestry made at Beauvais
•Date: ca. 1780-1790
•Culture: French, Beauvais
•Medium: Silk and wool (20-25 warps per inch, 8-11 per centimeter)
•Dimensions:
oOverall: 87 (Height) × 72 in. (Width) (221 × 182.9 cm)
•Classification: Textiles-Tapestries
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235e

On view at The Met Fifth Avenue in Gallery 523.

As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]

The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.

[Daniëlle Kisluk-Grosheide, 2010]

Footnotes:

[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers’ Classics 11. Fontwell, Sussex, 1969, p. 43.

Provenance

Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton, Lanarkshire (until 1882; sale, Christie, Manson and Woods, London, July 18, 1882, no. 1912; to Radley); Edward Radley (in 1882); [Lowengard Frères (by 1893/94)]; Kingdon Gould (until 1923; to MMA)

Timeline of Art History

•Timelines
oFrance, 1600-1800 A.D.

Posted by Autistic Reality on 2018-11-10 19:53:01

Tagged: , Eighteenth-Century , Eighteenth-Century French Decorative Arts , The Lauzun Room , Lauzun , Room , Lauzun Room , French , France , Boiserie , Hotel , Hôtel Lauzun , Île Saint-Louis , Paris , Baron Jérôme-Frédéric Pichon , Jérôme-Frédéric , Pichon , Louis Pichon , Interior , Inside , Indoors , Structure , Downtown , Downstate , Metropolitan Museum , The Met , The Metropolitan Museum of Art , Metropolitan Museum of Art , Architecture , New York , New York State , New York City , State of New York , Building , Museum , Museums , Art , USA , US , United States , United States of America , America , New York County , Manhattan , Art Museum , Art Museums , Landmark , Central Park , Fifth Ave , Fifth Avenue , European Sculpture and Decorative Arts , Sculpture , Decorative , Arts , Europe , European Sculpture , European Decorative Arts , Decorative Arts , 2018

#furniture #DIY #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wood planer, fine woodworking, wooden chairs, wood working tools, popular woodworking, woodworking books, woodworking workbench plans

Boiserie from the Hôtel Lauzun

•Date: ca. 1770, with one modern panel
•Culture: French, Paris
•Medium: Carved and painted oak
•Dimensions:
oHeight: 323½ (821.7)
oWidth: 323½ (821.7)
oDepth: 195¾ in. (497.2 cm)
•Classification: Woodwork
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1976
•Accession Number: 1976.91.1

On view at The Met Fifth Avenue in Gallery 523.

The design of this Neoclassical paneling incorporates fluted pilasters crowned with Corinthian capitals and three sets of double doors that alternate with carved panels. The latter are embellished below with symmetrical arabesques and vases in low relief and with graceful swags at the top, but they all differ slightly from each other. No eighteenth-century provenance has been discovered for this woodwork, but by 1874 it had been installed in the first-floor (American second floor) gallery of the Hôtel de Lauzun, a seventeenth-century residence on the Île Saint-Louis in Paris. The house was then occupied by the baron Jérôme-Frédéric Pichon (1812-1896), a well-known collector and bibliophile. Stripped to its bare oak and stained a dark shade of brown, the paneling lined the walls of his library. With its four large windows overlooking the quay and the river Seine, this room was the setting for eccentric parties at which Pichon entertained literary contemporaries such as Charles Baudelaire and Théophile Gautier. The paneling remained in place until the baron’s grandson, Louis Pichon, acquired the hôtel in 1905. Having a stricter aesthetic sense and a desire to restore the seventeenth-century appearance of the gallery, he dismantled and sold the boiserie. It arrived at the Museum in 1976. When microscopic analysis revealed little about the original paint below the stain, the woodwork was repainted in a monochrome gray-green distemper to harmonize with the three grisaille overdoors, which have been associated with the paneling but did not originally belong to it. Showing children representing spring, summer, and winter, they are duplicates of the overdoors representing the four seasons painted about 1787 by Piat Joseph Sauvage (1744-1818) for Queen Marie-Antoinette’s dairy at Rambouillet.

Provenance

Baron Frédéric-Jérôme Pichon; [B. Fabre et Fils, 1976; sold to MMA]

Timeline of Art History

•Timelines
oFrance, 1600-1800 A.D.

MetPublications

•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art
•Masterpieces of The Metropolitan Museum of Art
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art

Tester Bed (Lit à la Duchesse en Impériale)

•Maker: Georges Jacob (French, Cheny 1739-1814 Paris)
•Factory: Tapestry made at Beauvais
•Artist: After a design by Jean-Baptiste Huet I (French, Paris 1745-1811 Paris)
•Date: ca. 1782-83
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut, pine, and linden; iron hardware; silk and wool Beauvais tapestry; modern silk damask
•Dimensions:
oOverall (bed components installed): 156¾ (Height) × 73½ (Width) × 86¾ in. (Depth) (398.1 × 186.7 × 220.3 cm);
oHeadboard: 79½ (Height) × 73½ in. (Width) (201.9 x 186.7 cm);
oTester at rectangular frame: 78 (Width) × (Depth) 90½ in. (198.1 x 229.9 cm);
oGreatest dims. of tester including protruding crestings: 17 (Height) × 96 (Width) × 99½ in. (Depth) (43.2 × 243.8 × 252.7 cm);
oHeight of Canopy from Floor: 156¾ in. (398.1cm)
oMatteress Support: 80 × 64 × 3½ in.
•Classification: Woodwork-Furniture
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235a

On view at The Met Fifth Avenue in Gallery 523.

As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]

The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.

[Daniëlle Kisluk-Grosheide, 2010]

Footnotes:

[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers’ Classics 11. Fontwell, Sussex, 1969, p. 43.

Signatures, Inscriptions, and Markings

•Signature:
oStamped on Base of Headboard: G. IACOB

Provenance

Possibly ordered by comte César Gabriel Choiseul-Chevigny, 1st duc de Praslin; or ordered by comte Renaud César Louis Choiseul-Chevigny, 2nd duc de Praslin; duchesse de Choiseul-Praslin Guyonne-Marguerite de Durfort de Lorge, Hôtel de Belle-Isle, Paris (by 1791); [sale, Grand Bazar, Paris, July 12, 1830; to J.E. Quinet, for Alexander Hamilton] Douglas, tenth Duke of Hamilton (?); Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton , Lanarkshire (until 1882; Hamilton Palace sale, Christie, Manson and Woods, London, July 18, 1882, lot 1912, for £ 1,155; to Edward Radley); [Edward Radley (in 1882)]; [Lowengard Frères (by 1893/94)] ; [Duveen Brothers (until 1897; sold September 1897, for $3,300 to George J. Gould)]; George Jay Gould (from 1897); Kingdon Gould (until 1923; to MMA)

Timeline of Art History

•Timelines
oFrance, 1600-1800 A.D.

Lining for the Headboard of a Bed (Lit à la Duchesse en Impériale)

•Factory: Tapestry Made at Beauvais
•Date: ca. 1780-1790
•Culture: French, Beauvais
•Medium: Silk and Wool (20-25 warps per inch, 8-11 per centimeter)
•Dimensions:
oHeight: 38 (96.5 cm)
oLength 63 in. (160 cm)
•Classification: Textiles-Tapestries
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235f

On view at The Met Fifth Avenue in Gallery 523.

As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-1783 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]

The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.

[Daniëlle Kisluk-Grosheide, 2010]

Footnotes:

[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers’ Classics 11. Fontwell, Sussex, 1969, p. 43.

Provenance

Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton, Lanarkshire (until 1882; sale, Christie, Manson and Woods, July 18, 1882, no. 1912; to Radley); Edward Radley (in 1882); [Lowengard Frères (by 1893/94)]; Kingdon Gould (until 1923; to MMA)

Timeline of Art History

•Timelines
oFrance, 1600-1800 A.D.

Posted by Autistic Reality on 2018-11-10 19:52:37

Tagged: , Eighteenth-Century , Eighteenth-Century French Decorative Arts , The Lauzun Room , Lauzun , Room , Lauzun Room , French , France , Boiserie , Hotel , Hôtel Lauzun , Île Saint-Louis , Paris , Baron Jérôme-Frédéric Pichon , Jérôme-Frédéric , Pichon , Louis Pichon , Interior , Inside , Indoors , Structure , Downtown , Downstate , Metropolitan Museum , The Met , The Metropolitan Museum of Art , Metropolitan Museum of Art , Architecture , New York , New York State , New York City , State of New York , Building , Museum , Museums , Art , USA , US , United States , United States of America , America , New York County , Manhattan , Art Museum , Art Museums , Landmark , Central Park , Fifth Ave , Fifth Avenue , European Sculpture and Decorative Arts , Sculpture , Decorative , Arts , Europe , European Sculpture , European Decorative Arts , Decorative Arts , 2018

#furniture #DIY #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wood planer, fine woodworking, wooden chairs, wood working tools, popular woodworking, woodworking books, woodworking workbench plans

Boiserie from the Hôtel Lauzun

•Date: ca. 1770, with a person modern day panel
•Culture: French, Paris
•Medium: Carved and painted oak
•Dimensions:
oHeight: 323½ (821.7)
oWidth: 323½ (821.7)
oDepth: 195¾ in. (497.2 cm)
•Classification: Woodwork
•Credit Line: Acquire, Mr. and Mrs. Charles Wrightsman Reward, 1976
•Accession Variety: 1976.91.1

On view at The Met Fifth Avenue in Gallery 523.

The style of this Neoclassical paneling incorporates fluted pilasters topped with Corinthian capitals and a few sets of double doors that alternate with carved panels. The latter are embellished down below with symmetrical arabesques and vases in lower aid and with graceful swags at the top, but they all vary somewhat from every single other. No eighteenth-century provenance has been discovered for this woodwork, but by 1874 it experienced been put in in the very first-flooring (American next floor) gallery of the Hôtel de Lauzun, a seventeenth-century home on the Île Saint-Louis in Paris. The property was then occupied by the baron Jérôme-Frédéric Pichon (1812-1896), a nicely-known collector and bibliophile. Stripped to its bare oak and stained a darkish shade of brown, the paneling lined the partitions of his library. With its four large home windows overlooking the quay and the river Seine, this area was the environment for eccentric parties at which Pichon entertained literary contemporaries these kinds of as Charles Baudelaire and Théophile Gautier. The paneling remained in put right up until the baron’s grandson, Louis Pichon, obtained the hôtel in 1905. Owning a stricter aesthetic sense and a desire to restore the seventeenth-century visual appearance of the gallery, he dismantled and marketed the boiserie. It arrived at the Museum in 1976. When microscopic analysis exposed minimal about the initial paint down below the stain, the woodwork was repainted in a monochrome grey-environmentally friendly distemper to harmonize with the three grisaille overdoors, which have been related with the paneling but did not at first belong to it. Demonstrating small children representing spring, summertime, and winter season, they are duplicates of the overdoors symbolizing the four seasons painted about 1787 by Piat Joseph Sauvage (1744-1818) for Queen Marie-Antoinette’s dairy at Rambouillet.

Provenance

Baron Frédéric-Jérôme Pichon [B. Fabre et Fils, 1976; sold to MMA]

Timeline of Artwork Heritage

•Timelines
oFrance, 1600-1800 A.D.

MetPublications

•The Wrightsman Galleries for French Attractive Arts, The Metropolitan Museum of Artwork
•Masterpieces of The Metropolitan Museum of Art
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art

Pair of 3-Mild Wall Sconces (Bras de Cheminée)

•Factory: Sèvres Manufactory (French, 1740-Present)
•Modeler: Model attributed to Jean-Claude Duplessis (French, ca. 1695-1774, active 1748-74)
•Date: ca. 1760-1761
•Culture: French, Sèvres
•Medium: Gentle-Paste Porcelain, Gilt Bronze
•Dimensions:
oOverall (Confirmed): 17⅜ × 11 × 7¼ in. (44.1 × 27.9 × 18.4 cm)
•Classification: Ceramics-Porcelain
•Credit Line: Reward of R. Thornton Wilson, in memory of Florence Ellsworth Wilson, 1954
•Accession Variety: 54.147.20a-d, .21a-d

On watch at The Met Fifth Avenue in Gallery 523.

In the 1760s and 1770s in unique, the Sèvres manufacturing unit regularly launched merchandise with new sorts, new types of decoration, and even new features. Until eventually that time, sconces of large high-quality were made both of gilt bronze or gilt wood. It was a substantial complex achievement to develop them in porcelain, and small firing cracks on these objects in spots where the porcelain curves testify to the troubles concerned.

Perhaps the challenges in molding and firing porcelain sconces describe why so few of them have been made. About twenty pairs were produced at Sèvres in between 1761 and 1768, the interval all through which these extraordinary objects would have been in manner. Their pronounced scrolling kinds incorporating leaves and berries and their sinuous profile epitomize large Rococo design in the decorative arts. They were clearly held in superior esteem Madame de Pompadour owned two pairs, and Louis XV obtained at the very least 10 with a environmentally friendly floor in 1762.

Provenance

Duke of Buccleuch R. Thornton Wilson (till 1954 to MMA)

Timeline of Art Historical past

•Essays
oArt Nouveau
oEmpire Design, 1800-1815
oExoticism in the Attractive Arts
oFrench Home furnishings in the Eighteenth Century: Case Home furnishings
oJean-Baptiste Carpeaux (1827-1875)
oLouis-Rémy Robert (1810-1882)
oSaint Petersburg
oSèvres Porcelain in the Nineteenth Century
•Timelines
oFrance, 1600-1800 A.D.

Posted by Autistic Fact on 2018-11-10 19:52:56

Tagged: , Eighteenth-Century , Eighteenth-Century French Decorative Arts , The Lauzun Area , Lauzun , Home , Lauzun Space , French , France , Boiserie , Resort , Hôtel Lauzun , Île Saint-Louis , Paris , Baron Jérôme-Frédéric Pichon , Jérôme-Frédéric , Pichon , Louis Pichon , Inside , Within , Indoors , Structure , Downtown , Downstate , Metropolitan Museum , The Satisfied , The Metropolitan Museum of Artwork , Metropolitan Museum of Artwork , Architecture , New York , New York Condition , New York Metropolis , State of New York , Developing , Museum , Museums , Artwork , United states of america , US , United States , United States of The united states , The us , New York County , Manhattan , Art Museum , Art Museums , Landmark , Central Park , Fifth Ave , Fifth Avenue , European Sculpture and Ornamental Arts , Sculpture , Decorative , Arts , Europe , European Sculpture , European Ornamental Arts , Decorative Arts , 2018

#furnishings #Do it yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wood planer, great woodworking, wood chairs, wood working equipment, preferred woodworking, woodworking publications, woodworking workbench strategies