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
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