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CASA VANZO - struttura ricettiva extra alberghiera
Fondazione I.R.P.E.A. - Padova
Progetto: arch. Santelli Nazzareno, Santelli Andrea e Rampado Diego
General Contractor: Tecnoffix Interior
Mazzali ha realizzato gli ambienti notte e studio.
Armadio: modello 900, tamburato con massello di abete, essenza di rovere, verniciatura all’acqua e ingnifuga
Letti e Comodini: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Scrittoi: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Boiserie: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
VANZO – extra hotel accommodation
Foundation I.R.P.E.A. - Padova
Design: arch. Nazzareno Santelli, Andrew Santelli and Rampado Diego
General Contractor: Interior Tecnoffix
Mazzali has created the night and study spaces.
Technical card:
Cabinet: Model 900, with honeycomb sandwich panel with solid wood frame, oak, water and fire resistant painting
Beds & Tables: plywood, oak, water and fire resistant painting
Desks: plywood, oak, water painting water and fire resistant painting
Boiserie: plywood, oak, water and fire resistant painting
My design of a master bedroom styled in Art Deco. Everything is custom-designed by me, all the unique furniture items, elements of decor and lighting. This design does not include any prefabricated items from any catalogues. This is a no-shopping design. And this is a no-compromise, a style Full-On design. I offer consultancy services and a design quality that ensures feasibility, stylishness, and a High-End look with any kind of materials.
Lit à la duchesse en impériale
Georges Jacob (1739–1814)
The boiserie has gone through several changes since it entered the museum collection. It started out stripped, a 20th century change. It was then painted white and the carving was polychromed because that was how the curator at the time "knew" it should have looked. It is now solid white because that was how the current curator "knows" it should be.
CASA VANZO - struttura ricettiva extra alberghiera
Fondazione I.R.P.E.A. - Padova
Progetto: arch. Santelli Nazzareno, Santelli Andrea e Rampado Diego
General Contractor: Tecnoffix Interior
Mazzali ha realizzato gli ambienti notte e studio.
Armadio: modello 900, tamburato con massello di abete, essenza di rovere, verniciatura all’acqua e ingnifuga
Letti e Comodini: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Scrittoi: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Boiserie: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
VANZO – extra hotel accommodation
Foundation I.R.P.E.A. - Padova
Design: arch. Nazzareno Santelli, Andrew Santelli and Rampado Diego
General Contractor: Interior Tecnoffix
Mazzali has created the night and study spaces.
Technical card:
Cabinet: Model 900, with honeycomb sandwich panel with solid wood frame, oak, water and fire resistant painting
Beds & Tables: plywood, oak, water and fire resistant painting
Desks: plywood, oak, water painting water and fire resistant painting
Boiserie: plywood, oak, water and fire resistant painting
My design of a master bedroom styled in Art Deco. Subscribe to see my regular design updates, follow me on Instagram @andreipastushuk
Viaje a EEUU - Día 9
Designer:Designed by architect Isidor Canevale (1730–1786)
Maker:Carved by Johann Georg Leithner (1725–1785) , and his assistants
Date:ca. 1765–72, with later additions
Culture:Austrian, Vienna
Medium:Carved, painted, and gilded pine; plaster; gilt bronze; mirror glass; oak flooring
Dimensions:H. 192 x W. 486 x D. 294-1/2 in. (487.7 x 1234.4 x 748.0 cm)
Classification:Woodwork
Credit Line:Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1963
Accession Number:63.229.1
On view at The Met Fifth Avenue in Gallery 526
According to the Viennese travel guide Nützliches Adress und Reisebuch, published in 1792, "the House of Prince Paar . . . especially deserves to be seen because of the splendor of its interior settings, carried out under the direction of the architect Canevale."[1] Among its glories were the French-style paneled rooms.
Formerly at 30 Wollzeile, not far from Saint Stephen’s Cathedral, Palais Paar was built about 1630 for the postmaster of the Holy Roman Empire, Baron Johann Christoph von Paar. During the second half of the eighteenth century the state apartments and living quarters of this stately residence were renovated for one of his descendants, Count Wenzel Johann Joseph von Paar, in a tempered version of the Rococo style. According to contemporary documents, the French-born architect Isidor Canevale was responsible for the paneling designs, which were executed by the sculptor Johann Georg Leithner. Displaying triple moldings that are enriched with foliate and shell motifs, floral ornament, and either C- or S-shaped scrolls, the Museum’s paneling comes from various rooms originally at the back of the palace. They were decorated more sparingly than the richly embellished reception rooms behind the main facade. About 1931, before the building was demolished, most of the boiseries were dismantled and sold to the Parisian decorating firm of Jansen. The British politician and art collector Sir Philip Sassoon (1888–1939) acquired some of this paneling in 1934 for installation in his London house, at 45 Park Lane. It was, however, bought back by Jansen in the 1950s and later purchased by Mr. and Mrs. Charles Wrightsman for use at the Museum. Microscopic paint analysis has revealed three tones of gray distemper, probably the original paint layers, on different elements of the woodwork, thereby underscoring its composite nature. The current blue-green paint surface was applied by Jansen before the Wrightsmans acquired the room in 1963. This color was then believed to be close to the original shade; cross sections taken during the most recent conservation treatment indicate that the paneling was indeed once painted a light blue. That color, however, is now known to be not the earliest but one of the subsequent layers.
[1] Nützliches Adress und Reisebuch 1792, pp. 20–21.
Department
European Sculpture and Decorative Arts (42,455)
Artist / Maker / Culture
Isidor Canevale (1)
Johann Georg Leithner (1)
Object Type / Material
Bronze (12,235)
Copper alloy (19,043)
Gilt (9,167)
Glass (22,625)
Metal (70,394)
Mirrors (734)
Oak (1,176)
Ormolu (1,824)
Painting (6,273)
Pine (940)
Plaster (2,742)
Plate (2,802)
Softwood (1,286)
Wood (15,082)
Woodwork (2,296)
Geographic Location
Austria (2,742)
Europe (168,004)
Vienna (385)
Date / Era
A.D. 1600–1800 (75,152)
Mebelital - Итальянская мебель от производителей
Итальянская мебель - Boiserie Italia - Italy / Италия
Living Rooms / Гостиные - Sofas / Диваны - Bedrooms / Спальни
"Date: ca. 1774, with later additions. Medium: Carved, painted, and gilded oak.
Commissioned for the new residence of Jean-Paul de Clapiers, marquis de Cabris, in Grasse, this paneling made in Paris is a pure expression of the Neoclassical style. Originally the room had five sets of double doors and an equal number of mirrors, achieving a beautiful harmony by the alternation of the carved and gilded panels with the reflective glass surfaces. The rounded corners display trophies of musical instruments suspended from bow-tied ribbons. Smoking incense burners on tripod stands, a motif derived from classical antiquity, embellish the upper door panels. The combination of dulled and burnished gilding creates a particularly lively effect." - info from the Met.
"The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.
The Metropolitan Museum of Art was founded in 1870 with its mission to bring art and art education to the American people. The museum's permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are installed in its galleries.
The Fifth Avenue building opened on March 30, 1880. In 2021, despite the COVID-19 pandemic in New York City, the museum attracted 1,958,000 visitors, ranking fourth on the list of most-visited art museums in the world.
New York, often called New York City or NYC, is the most populous city in the United States. With a 2020 population of 8,804,190 distributed over 300.46 square miles (778.2 km2), New York City is also the most densely populated major city in the United States. The city is within the southern tip of New York State, and constitutes the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area – the largest metropolitan area in the world by urban landmass. With over 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York is one of the world's most populous megacities, and over 58 million people live within 250 mi (400 km) of the city. New York City is a global cultural, financial, and media center with a significant influence on commerce, health care and life sciences, entertainment, research, technology, education, politics, tourism, dining, art, fashion, and sports. New York is the most photographed city in the world. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, an established safe haven for global investors, and is sometimes described as the capital of the world." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
La famille des Rohan était une des puissante famille de France pendant la renaissance/ancien empire et ayant eu des cardinaux, princes-évèques, maréchaux, etc. Ils ont disséminé palais et châteaux dans toute la France comme ici à Strasbourg, dans ce palais mi-XVIIIe de style classique. On peut y voir ici des bustes d'empereur romain et un bel ensemble de boiseries blanches et dorées.
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
Stand (Piètement) for a Model of La Samaritaine
•Maker: Jean-Baptiste Vinceneux (ca. 1726-ca. 1795, active 1750-86)
•Date: 1773
•Culture: French, Paris
•Medium: Carved, painted, gilded and silvered walnut; modern wood top
•Dimensions:
oOverall: 38⅛ × 28¼ × 22⅝ in. (96.8 × 71.8 × 57.5 cm)
•Classification: Woodwork-Furniture
•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1983
•Accession Number: 1983.185.7
On view at The Met Fifth Avenue in Gallery 523.
The hydraulic pump constructed on one of the piers of the Pont-Neuf was among the mechanical miracles of early seventeenth-century Paris. It supplied water from the river Seine to the fountains of the Louvre and Tuileries palaces. Between 1712 and 1719 the pump house was rebuilt by the well-known architect Robert de Cotte (1656-1735). Fitted with a carillon on its steep roof, the facade was adorned with a large clock and a sculptural group in lead representing Jesus and the Samarian woman at Jacob’s Well. This group gave the new building its name: La Samaritaine.
In 1772 Charles-Philippe, comte d’Artois (1757-1836), ordered two maquettes of La Samaritaine, each with a removable roof, a clock on one side, a barometer on the other, and various luxury objects inside, such as a gold cadinet or casket to contain a set of cutlery and spices. Some thirty artists collaborated on this extraordinary commission, including the sculptor Louis-Simon Boizot (1743-1809), the clockmaker Robert Robin (1741-1799), and the bronze workers André Ravrio and Luc-Philippe Thomire, under the supervision of Pasquier, the mécanicien (engineer) to the comte d’Artois. One of these models was presented by the count to his sister-in-law, Marie-Antoinette, with whom he shared a close friendship. The other was for his brideto-be, Marie-Thérèse of Savoy.
The Museum’s stand, which has the crowned initials MT of the comtesse d’Artois, was executed by the little-known sculptor Jean-Baptiste Vinceneux for the model of La Samaritaine that belonged to her. Richly carved with oak, laurel, and myrtle branches, as well as with garlands of flowers, the stand displays a coat of arms on the back that has not yet been positively identified. A three-dimensional composition consisting of a classical urn, billing doves, a flaming torch, and a quiver of arrows adorns the cross-stretcher that connects the four slender legs. Symbolizing love and marital felicity, this group undoubtedly refers to the nuptials of the comte and comtesse d’Artois, which took place in November 1773, the same year the support was made; the marriage, however, proved an unhappy one as the young husband continued to lead a licentious life. Pierced guilloche moldings running along the sides of the stand allude to the fact that the models of La Samaritaine were intended to exude perfume. Placed on a later stand, one of the maquettes is in the collection of the Musée Carnavalet, Paris.
Signatures, Inscriptions, and Markings
•Marking:
oMonogram: MT surmounted by crown [Marie-Thérèse de Savoie, comtesse d’Artois]
Provenance
Marie-Thérèse de Savoie, Comtesse d’Artois; Mr. and Mrs. Charles Wrightsman, New York (until 1983; 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
•The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets
The Yea Shire Hall in Yea’s main thoroughfare of High Street was originally a single storey building erected in 1877. The grander double storey Victorian Academic Classical building with a tower that stands on the site today was built in 1894 by architect L. J. Bishop. Its construction is of concrete with cement rendering. Its facilities include a ballroom, a stage, two dressing rooms and a supper room.
The Yea Shire Hall has aesthetic appeal and is of social significance, as it was the headquarters of the shire and council meetings, which were conducted in the building’s supper room. Today, the hall caters for the cultural, amusement, entertainment and recreation needs of the community. Remodelling was undertaken in 1894 and extensions in 1923 when the building’s kitchens were finally sewered. The office accommodation was converted to sewered toilet rooms in 1968.
The hall is typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in the Academic Classical style. The building is symmetrical with rounded windows and entrance inspired by Roman or Renaissance architecture. The construction date of 1894 and building’s name appear above the doorway on the pediment. The pedemented portico is inspired by a classical temple front, which may also have inspired the Corinthian topped columns that ornament the front. The façade itself, covered in cement render, has the ground floor as a base and the main floor treated like a piano nobile. Other typical attributes of the Victorian Academic Classical style include the balustrade ornamented parapet, which conceals the roof, and perhaps the building’s most impressive feature, the prominent central tower with its mansard roof. The tower employs classical motifs and garland boiseries and features a working clock.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
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
Chimneypiece
•Date: ca. 1770
•Culture: French
•Medium: Carrara marble
•Dimensions:
oOverall (Marble mantlepiece, confirmed): 48 (Height) × 75⅜ in. (Width) (121.9 × 191.5 cm);
oOverall (Size of fireplace opening, confirmed): 39⅛ (Height) × 59 in. (Width) (99.4 × 149.9 cm);
oOverall (Iron fire back and sides, confirmed): 33 (Height) × 45½ (Width) × 23¼ in. (Depth) (83.8 × 115.6 × 59.1 cm)
•Classification: Sculpture-Architectural
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1976
•Accession Number: 1976.91.2
On view at The Met Fifth Avenue in Gallery 523.
Acquired in the late nineteenth century by Baron Frédéric-Jérôme Pichon (1812-1896), the original provenance of this oak paneling is not known. The baron, a well-known Parisian bibliophile and collector, incorporated the paneling, stripped of its original paint, into the large library that he installed on the first floor of his Paris residence, the Hôtel Lauzun, at 17, quai d’Anjou, on the Ile Saint-Louis. Dating from about 1770, the paneling was not in keeping with the seventeenth-century décor of the Hôtel Lauzun and was dismantled and sold in about 1906.
The three grisaille overdoor paintings in the style of Piat-Joseph Sauvage (1744-1818), the Carrara marble chimneypiece, and its framed overmantel mirror are contemporary with, but not original to, the room. Lacking evidence of the original paint color and finish, a glue-based distemper was chosen for the woodwork in this room in accordance with eighteenth-century techniques.
Provenance
[B. Fabre et Fils, 1976; sold to MMA]
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•Masterpieces of The Metropolitan Museum of Art
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art
Fire Screen (Écran) (part of a set)
•Maker: Jean-Baptiste-Claude Sené (1748-1803)
•Maker: Painted and Gilded by Louis-François Chatard (ca. 1749-1819)
•Date:1788
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut; modern cotton twill with silk embroidery
•Dimensions:
oHeight: 44¼ (112.4 cm.)
oWidth: 27¾ (70.5 cm.)
oDepth (Base) 17 in. (43.2 cm.)
•Classification: Woodwork-Furniture
•Credit Line: Gift of Ann Payne Blumenthal, 1941
•Accession Number: 41.205.3a, b
On view at The Met Fifth Avenue in Gallery 523.
In 1785 Louis XVI purchased the Château de Saint Cloud (fig. 49) in Marie Antoinette’s name from the duc d’Orléans. The château, situated on a hillside overlooking the Seine not far from Paris, became the queen’s favorite summer residence. Built in the sixteenth century and rebuilt during the seventeenth, the palace was in need of renovation. The architect Richard Mique (1728-1794) enlarged and altered it, and appropriate furnishings were ordered for the queen’s apartment.
Many pieces of furniture were commissioned from Jean-Baptiste-Claude Sene (1748-1803), a member of an important dynasty of Parisian chair makers who received a royal appointment in 1784. Sene provided a set of seat furniture for the queen’s dressing room, called her cabinet particulier ox cabinet de toilette that is described in the 1789 inventory of Saint Cloud. The daybed, the bergère (a comfortable chair upholstered between the arms and the seat), and the fire screen from the set are now in the Museum’s collections (figs. 50?57). They were the gift of Ann Payne Blumenthal, the second wife of George Blumenthal. The painted and gilt frame of the low daybed (fig. 50) is embellished with floral motifs. Six short tapering and fluted legs surmounted by Ionic capitals support the piece. The front stiles of the head- and footboard, which are of equal height, are carved with female half-figures wearing Egyptian headdresses (fig. 51). The bergère (fig. 52), which has a medallion with Marie Antoinette’s initials on its top rail (fig. 53), is decorated in a similar manner. A decade before Napoleon’s North African campaign was to inspire the fashion known as égyptomanie, the queen appears to have had a taste for ornament derived from ancient Egyptian art. Seated classical female figures, rather than Egyptian caryatids, decorate the feet of the fire screen (figs. 54, 55), and a woman who once held a cornucopia reclines on its top. The carver is not known, but Louis-François Chatard (ca. 1749-1819) was responsible for painting and gilding the frames.
According to the 1789 inventory the set was originally upholstered in a white-twilled cotton with rows of individual flowers embroidered by the queen herself. When the three pieces came to the Museum in 1941 only the fire screen’s show cover (fig. 56) had survived. Although the cotton ground is much discolored, Marie Antoinette’s interlaced initials, composed of blossoms embroidered in satin stitch, are in remarkably good condition (see fig. 57).
Provenance
Marie Antoinette, Queen of France, Cabinet de Toilette, Palace of Saint-Cloud, France (by 1788); Marquis de Casaux (until 1923; sale, Hôtel Drout, Paris, December 21, 1923, no. A); George and Florence Blumenthal, New York (from 1923); Ann Payne Blumenthal (until 1941; to MMA)
Timeline of Art History
•Essays
oEmpire Style, 1800-1815
oFrench 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.
Pair of Andirons
•Date: ca. 1785
•Culture: French
•Medium: Gilt bronze
•Dimensions:
oEach: 18½ (Height) × 19½ (Width) × 7¼ in. (Depth) (47 × 49.5 × 18.4 cm)
•Classification: Metalwork-Gilt Bronze
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1972
•Accession Number: 1972.199.1, .2
On view at The Met Fifth Avenue in Gallery 523.
Provenance
Albert and Clara Blum, New York; [Stiebel Ltd., New York, until 1972; sold to MMA]
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
Eighteen-Light Chandelier
•Date: ca. 1790
•Culture: French
•Medium: Gilt bronze, rock crystal
•Dimensions:
oHeight: 58 in. (147.3 cm)
oDiameter: 37½ in. (95.3 cm)
•Classification: Metalwork-Gilt Bronze
•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1971
•Accession Number: 1971.206.43
On view at The Met Fifth Avenue in Gallery 523.
Provenance
[René Weiller, through Rosenberg & Stiebel, sold to Wrightsman (1968)]; Mr. and Mrs. Charles Wrightsman, New York (until 1971; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
The Hôtel de Varengeville, at 217, boulevard Saint-Germain, was built in 1704 by the architect Jacques Gabriel (1667-1742) for Charlotte-Angélique Courtin, the widowed comtesse de Varengeville. She left it to her daughter, who sold it in 1736 to Marie-Marguerite d'Allegre, comtesse de Ruppelmonde (d. 1752). The comtesse had the room decorated in something like its present Louis Quinze style. The most distinctive feature of the room is the elaborate gilded boiserie or woodwork, attributed to Nicolas Pineau (1684-1754). The paneling is vigorously carved with C-scrolls, S-scrolls, fantastic stork-like birds, palmettes, foliage sprays, and even bats' wings. The Rococo style offers early evidence of the influence of Asian art. Chinoiserie is evident in the gilded ornamentation of the scarlet and gold japanned writing table. This table was made for Louis XV in 1759 by the royal cabinetmaker Gilles Joubert. Conventional aristocratic taste in boiserie form is suggested by the allegories of the seasons and representations of Music, Poetry, Gardening, Hunting, and Commerce.
Metropolitan Museum of Art
NYC
My design of a master bedroom styled in Art Deco. Subscribe to see my regular design updates, follow me on Instagram @andreipastushuk
The Yea Shire Hall in Yea’s main thoroughfare of High Street was originally a single storey building erected in 1877. The grander double storey Victorian Academic Classical building with a tower that stands on the site today was built in 1894 by architect L. J. Bishop. Its construction is of concrete with cement rendering. Its facilities include a ballroom, a stage, two dressing rooms and a supper room.
The Yea Shire Hall has aesthetic appeal and is of social significance, as it was the headquarters of the shire and council meetings, which were conducted in the building’s supper room. Today, the hall caters for the cultural, amusement, entertainment and recreation needs of the community. Remodelling was undertaken in 1894 and extensions in 1923 when the building’s kitchens were finally sewered. The office accommodation was converted to sewered toilet rooms in 1968.
The hall is typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in the Academic Classical style. The building is symmetrical with rounded windows and entrance inspired by Roman or Renaissance architecture. The construction date of 1894 and building’s name appear above the doorway on the pediment. The pedemented portico is inspired by a classical temple front, which may also have inspired the Corinthian topped columns that ornament the front. The façade itself, covered in cement render, has the ground floor as a base and the main floor treated like a piano nobile. Other typical attributes of the Victorian Academic Classical style include the balustrade ornamented parapet, which conceals the roof, and perhaps the building’s most impressive feature, the prominent central tower with its mansard roof. The tower employs classical motifs and garland boiseries and features a working clock.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
AZEM - palace - palais
LE CAFE DE PARIS
buitt in the middle of the XVIIIth century by the Governor of Damascus As'ad Pacha al-Azem, located south of the Ummeyyaqd mosque, is nowadays the museum of arts and folk tradition
cool gardens, fontains and intricate interior decoration
the palace is decorated inside with wood panels, and wooden ceilings, and the facades are nicely decorated with sandstone, limestone, basalt and marble
construit pendant le seconde moitié du XVIIIème siècle pour servir de résidence au Gouverneur de Damas As'ad Pacha al-Azem
situé au sud de la mosquée des Ommeyyades, ce palais abrite de nos jours le musée des arts et traditions populaires
décoration intérieure très ouvragée avec panneaux et plafonds en boiseries
jardin intérieur très frais, petites fontaines
belle décoration des façades intérieurs avec calcaire, grès, basalte & marbre
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.
The Yea Shire Hall in Yea’s main thoroughfare of High Street was originally a single storey building erected in 1877. The grander double storey Victorian Academic Classical building with a tower that stands on the site today was built in 1894 by architect L. J. Bishop. Its construction is of concrete with cement rendering. Its facilities include a ballroom, a stage, two dressing rooms and a supper room.
The Yea Shire Hall has aesthetic appeal and is of social significance, as it was the headquarters of the shire and council meetings, which were conducted in the building’s supper room. Today, the hall caters for the cultural, amusement, entertainment and recreation needs of the community. Remodelling was undertaken in 1894 and extensions in 1923 when the building’s kitchens were finally sewered. The office accommodation was converted to sewered toilet rooms in 1968.
The hall is typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in the Academic Classical style. The building is symmetrical with rounded windows and entrance inspired by Roman or Renaissance architecture. The construction date of 1894 and building’s name appear above the doorway on the pediment. The pedemented portico is inspired by a classical temple front, which may also have inspired the Corinthian topped columns that ornament the front. The façade itself, covered in cement render, has the ground floor as a base and the main floor treated like a piano nobile. Other typical attributes of the Victorian Academic Classical style include the balustrade ornamented parapet, which conceals the roof, and perhaps the building’s most impressive feature, the prominent central tower with its mansard roof. The tower employs classical motifs and garland boiseries and features a working clock.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
CASA VANZO - struttura ricettiva extra alberghiera
Fondazione I.R.P.E.A. - Padova
Progetto: arch. Santelli Nazzareno, Santelli Andrea e Rampado Diego
General Contractor: Tecnoffix Interior
Mazzali ha realizzato gli ambienti notte e studio.
Armadio: modello 900, tamburato con massello di abete, essenza di rovere, verniciatura all’acqua e ingnifuga
Letti e Comodini: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Scrittoi: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Boiserie: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
VANZO – extra hotel accommodation
Foundation I.R.P.E.A. - Padova
Design: arch. Nazzareno Santelli, Andrew Santelli and Rampado Diego
General Contractor: Interior Tecnoffix
Mazzali has created the night and study spaces.
Technical card:
Cabinet: Model 900, with honeycomb sandwich panel with solid wood frame, oak, water and fire resistant painting
Beds & Tables: plywood, oak, water and fire resistant painting
Desks: plywood, oak, water painting water and fire resistant painting
Boiserie: plywood, oak, water and fire resistant painting
Sculptures sur bois de noyer du XVIIIe siècle, œuvre d'un atelier méridional, provenant de la sacristie d'une église palermitaine, dépôt de la Police italienne.
CASA VANZO - struttura ricettiva extra alberghiera
Fondazione I.R.P.E.A. - Padova
Progetto: arch. Santelli Nazzareno, Santelli Andrea e Rampado Diego
General Contractor: Tecnoffix Interior
Mazzali ha realizzato gli ambienti notte e studio.
Armadio: modello 900, tamburato con massello di abete, essenza di rovere, verniciatura all’acqua e ingnifuga
Letti e Comodini: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Scrittoi: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
Boiserie: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga
VANZO – extra hotel accommodation
Foundation I.R.P.E.A. - Padova
Design: arch. Nazzareno Santelli, Andrew Santelli and Rampado Diego
General Contractor: Interior Tecnoffix
Mazzali has created the night and study spaces.
Technical card:
Cabinet: Model 900, with honeycomb sandwich panel with solid wood frame, oak, water and fire resistant painting
Beds & Tables: plywood, oak, water and fire resistant painting
Desks: plywood, oak, water painting water and fire resistant painting
Boiserie: plywood, oak, water and fire resistant painting
Wood paneling: the Radica collection. Discover it at www.vazzari.com/main.php?lang=en#/collection/?id=boiserie...
Vazzari Srl
via dei gelsi, 5
22060 Novedrate (Co) - Italy
T. +39.031.790585
F. +39.031.7940288
Paris: Life and Luxury. This exhibition of works on loan to the Getty Museum re-creates rococo Paris through the fashion, paintings, sculpture, furniture, musical instruments, and books of the period.
Carved, painted, and gilded wood paneling (boiserie) formed the main decoration of walls in important eighteenth-century rooms. This room was originally used as a bedroom or large cabinet in a private Parisian home at number 18 place Vendôme. In its original state, half of the room was paneled: the pier-glass, the window surrounds, and the fireplace wall. The back wall, where the bed was placed, was hung with fabric.
Console Table (left), attrib. to Pierre Deumier, design by Victor Louis and Jean-Louis Prieur, French, Paris,
c. 1765-1770, silvered bronze, gilt bronze, bleu turquin marble top, modern marbleized wood base,
Curiosity Cabinet Object, François Barreau, French, Paris, c. 1800, thuya wood and turned ivory.
In a glass case over the white marble fireplace (right) is a Mantel Clock two Vestal Virgins tend a flame that honors the goddess of the hearth, Vesta.
The elaborately painted grotesque panels by Jean-Siméon Rousseau de la Rottière and Jules-Hughes Rousseau were inspired by the new discoveries at Pompeii and Herculaneum, and recall the work of Raphael Sanzio as ornaments in the Vatican Loggia as well as some of the work of Marco Marchetti in the Medici Apartments in the Palazzo Vecchio in Florence, and Pinturrichio's work in the Piccolomini Library in the Cathedral of Siena.
www.digital-images.net/Gallery/Art/GettyMus/Decrtv-Arts/D...
The Palau Güell (Güell Palace) is a mansion designed by the architect Antoni Gaudí for the industrial business mann Eusebi Güell. It is situated in the Carrer Nou de la Rambla in the city of Barcelona in Catalonia, Spain. It is part of the UNESCO World Heritage Site "Works of Antoni Gaudí". It was built between 1885 and 1900.
AZEM - palace - palais
buitt in the middle of the XVIIIth century by the Governor of Damascus As'ad Pacha al-Azem, located south of the Ummeyyaqd mosque, is nowadays the museum of arts and folk tradition
cool gardens, fontains and intricate interior decoration
the palace is decorated inside with wood panels, and wooden ceilings, and the facades are nicely decorated with sandstone, limestone, basalt and marble
construit pendant le seconde moitié du XVIIIème siècle pour servir de résidence au Gouverneur de Damas As'ad Pacha al-Azem
situé au sud de la mosquée des Ommeyyades, ce palais abrite de nos jours le musée des arts et traditions populaires
décoration intérieure très ouvragée avec panneaux et plafonds en boiseries
jardin intérieur très frais, petites fontaines
belle décoration des façades intérieurs avec calcaire, grès, basalte & marbre
The Yea Shire Hall in Yea’s main thoroughfare of High Street was originally a single storey building erected in 1877. The grander double storey Victorian Academic Classical building with a tower that stands on the site today was built in 1894 by architect L. J. Bishop. Its construction is of concrete with cement rendering. Its facilities include a ballroom, a stage, two dressing rooms and a supper room.
The Yea Shire Hall has aesthetic appeal and is of social significance, as it was the headquarters of the shire and council meetings, which were conducted in the building’s supper room. Today, the hall caters for the cultural, amusement, entertainment and recreation needs of the community. Remodelling was undertaken in 1894 and extensions in 1923 when the building’s kitchens were finally sewered. The office accommodation was converted to sewered toilet rooms in 1968.
The hall is typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in the Academic Classical style. The building is symmetrical with rounded windows and entrance inspired by Roman or Renaissance architecture. The construction date of 1894 and building’s name appear above the doorway on the pediment. The pedemented portico is inspired by a classical temple front, which may also have inspired the Corinthian topped columns that ornament the front. The façade itself, covered in cement render, has the ground floor as a base and the main floor treated like a piano nobile. Other typical attributes of the Victorian Academic Classical style include the balustrade ornamented parapet, which conceals the roof, and perhaps the building’s most impressive feature, the prominent central tower with its mansard roof. The tower employs classical motifs and garland boiseries and features a working clock.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
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.
THE MOSQUE OF MUHAMMAD 'ALI AL- KABIR (IN THE CITADEL) 1246- 1265H.(1830- 1848) . THE CITADEL, since its foundation by Salah ad- Din al- Ayyubi, has remained the seat of Government during the rule of the Ayyubids, the Mamluks, the Ottomans, and the family of Muhammad 'Ali Pasha. It remained so until the reign of the Khedive Isma'il who chose 'Abdin Palace for his residence. Muhammad 'Ali Pasha, the founder of modern Egypt, after restoring the walls of the Citadel, built numerous palaces, schools, and government buildings. His masterpiece was the great mosque with its domes and minarets, which overlooks the city of Cairo. The construction of this mosque was begun in 1246H. (1830) , on the site of old Mamluk buildings, and was completed in 1265H. (1848). Its decorations were completed during the reign of the late 'Abbas Pasha I. It is built in the style of the Ottoman Mosques of Istanbul. It is square in plan, and measures 41 m. each way; it has a dome in the middle, 21 m. in diameter and 52 m. in height, resting on four large arches, supported by four massive piers. This dome is surrounded by four semi- domes. In the corners are four little domes. Another semi- dome covers the mihrab on the eastern side of the mosque. The walls and piers are lined with alabaster to the height of 11.30 m., with coloured ornament above. The domes and semi- domes are decorated with painted and gilt ornament in relief. The dikka, which is supported on alabaster arches and columns is placed on the western side. The handrails of the dikka and the galleries round the domes are all made of bronze. At the south- western corner is the cenotaph of Muhammad 'Ali Pasha. It has a marble mounting carved with beautiful ornament and inscriptions, and is surrounded by a beautiful decorated bronze grille, made by order of the late 'Abbas Pasha I. There are two minbars; the larger, which is made of wood, decorated with gilt ornament, is the original one. The smaller, which is made of alabaster, was constructed in 1358H. (1939) by order of H. M. King Farouk I. The mosque is lit by magnificent crystal chandeliers with well- grouped glass lamps. At the western corners of the mosque rise two elegant cylindrical minarets of Turkish type, each being 82 m. high. The mosque has three entrances, one in the middle of each of the northern, southern, and western sides. The last one leads into a large sahn, 53 sq. metres surrounded by four iwans, the arches and columns of which, together with their walls, are all lined with alabaster. In the middle of the sahn is an octagonal ablution cistern covered by a carved alabaster dome, above which is a large dome supported on eight columns. This dome has an awning with raised gilt ornament, representing scenes from nature. It is covered, like the domes of the mosque, with sheets of lead. In the middle of the western iwan is a decorated brass clock- tower with a clock, which was presented in A.D. 1845 by Louis Philippe, King of France, to the late Muhammad 'Ali Pasha. The sahn has two entrances, one in the northern side and the other in the southern one. The walls of the mosque have an external alabaster facing of the same height as the internal dado. Next to the northern and southern faades are two iwans, with arches and columns made of alabaster. Towards the end of the nineteenth century, the mosque showed signs of cracking. It was repaired in 1899 by reinforcing the four piers and bracing the masonry of the arches at their springing with iron belts. These repairs, however, were not decisive for shortly afterwards more cracks began to appear in different parts of the mosque. The condition of the mosque having become so dangerous, a scheme for its complete restoration was drawn up by order of the late King Fouad I in 1931. This scheme comprised the demolition and rebuilding, painting and gilding of all the domes. The first part of this scheme was completed during the reign of the late King Fouad I. The second part, which comprised the marble lining, painting and gilding, was completed during the reign of H. M. King Farouk I. The total expenses amounted to 100,000. At the completion of this restoration, the mosque was inaugurated by H. M. King Farouk I in 1358H. (1939). The mosque has since received the personal attention of H. M. King Farouk I, who ordered the construction of the marble minbar which stands next to the mihrab. The position of this new minbar enables the speaker to face the whole congregation. The qibla recess was improved by filling up its windows with alabaster. The hood of the mihrab was decorated with the word Allah in the middle, surrounded with ornament in raised relief with a gilded Qur'anic verse below. This mosque is one of the landmarks of Cairo and is one of the first features to be seen when approaching the city from no matter which side.
source : Al Azhar official website
La Grande Mosquée de Muhammad `Alî 1246-1265 A.H. (1830-1848 E.C.)
Depuis sa construction par Salâh Ad-Dîn Al-Ayyûbî (Saladin), la Citadelle demeura le siège du gouvernement égyptien sous l’autorité des Ayyûbides, des Mamelouks, des Ottomans ainsi que sous le règne de Muhammad `Alî Pasha. Il fallut attendre le Khédive Ismâ`îl pour que le siège du gouvernement soit transféré de la Citadelle au Palais de `Âbidîn.
Après avoir restauré les remparts de la Citadelle, Muhammad `Alî Pasha, le père de l’Égypte moderne, fit construire plusieurs palais, écoles, et édifices administratifs. Son œuvre maîtresse fut néanmoins la grande mosquée qui porte son nom, avec ses dômes et ses minarets, et qui surplombe la ville du Caire. La construction de cette mosquée débuta en 1246 A.H. (1830 E.C.), sur les ruines de vieux édifices mamelouks, et fut achevée en 1265 A.H. (1848 E.C.). Ses décorations furent complétées ultérieurement sous le règne de `Abbâs Pasha Ier.
La mosquée est construite sur le modèle des mosquées ottomanes d’Istanbul. Sa base carrée mesure 41 mètres de côté ; elle possède un dôme central, de 21 mètres de diamètre et de 52 mètres de haut, reposant sur quatre grandes arches, elles-mêmes soutenues par quatre imposants piliers. Le dôme est flanqué de quatre semi-dômes. Aux angles, on trouve quatre autres petits dômes. Un semi-dôme couvre en outre le mihrâb, situé du côté Est de la mosquée. Les murs et les piliers sont revêtus d’albâtre jusqu’à une hauteur de 11,30 mètres, et possèdent une ornementation colorée sur le haut. Les dômes et les semi-dômes sont décorés de peintures et de dessins en relief dorés.
Le balcon, soutenu par des arches et des colonnes en albâtre, se situe sur le flanc ouest de la mosquée. Les balustrades du balcon et les galeries qui entourent les dômes sont en bronze.
À l’angle sud-ouest, il y a le cénotaphe de Muhammad `Alî Pasha. Le support du cénotaphe est en marbre et est gravé de beaux dessins et de somptueuses inscriptions. La pièce est entourée par une belle grille en bronze, fabriquée sur ordre de `Abbâs Pasha Ier. Il y a deux minbars ; le plus grand, construit en bois et décoré par des ornements dorés, est le minbar originel. Le plus petit, fait en albâtre, fut construit en 1358 A.H. (1939 E.C.) sur ordre de Sa Majesté le Roi Fârûq Ier.
La mosquée est éclairée par de magnifiques chandeliers en cristal avec de beaux amas de lampes en verre. Aux angles ouest de la mosquée, s’érigent deux élégants minarets cylindriques de type turc. Chacun d’entre eux mesure 82 mètres de haut.
La mosquée possède trois entrées, une au milieu de chacune des façaces nord, sud et ouest. L’entrée occidentale ouvre sur une grande cour intérieure carrée de 53 mètres de côté, entourée de quatre salles dont les arches, les colonnes et les murs sont tous revêtus d’albâtre. Au milieu de la cour intérieure, il y a un réservoir d’eau pour les ablutions, de forme octogonale et recouvert d’un dôme en albâtre sculpté, au-dessus duquel il y a un grand dôme soutenu par huit colonnes. Ce dôme possède un vélum avec des décorations en relief dorées, représentant des scènes inspirées de la nature. Il est recouvert, à l’instar des autres dômes de la mosquée, de feuilles de plomb. Au milieu de la salle occidentale, il y a une grande horloge en cuivre, offerte en 1845 par Louis-Philippe, Roi de France, à Muhammad `Alî Pasha. La cour intérieure possède deux entrées, l’une au nord et l’autre au sud. Les murs de la mosquée ont un revêtement extérieur en albâtre de la même hauteur que le lambris intérieur. Près des façades nord et sud, on trouve deux salles, avec des arches et des colonnes en albâtre.
Vers la fin du XIXe siècle, la mosquée montra des signes de fractures. On la répara en 1899 en renforçant les quatre piliers et en ancrant la maçonnerie des arches, au niveau de leur suspension, par des ceintures en fer. Ces réparations ne furent cependant pas suffisantes, puisque très rapidement, de nouvelles fractures commencèrent à apparaître à divers endroits de la mosquée. L’édifice devenant donc de plus en plus dangereux, un plan de restauration complète fut mis au point en 1931, sur ordre du Roi Fu’âd Ier. Ce plan comprenait la démolition, la reconsruction, la peinture et la dorure de tous les dômes. La première partie de ce plan fut achevée durant le règne du Roi Fu’âd Ier. La deuxième partie, comprenant l’installation du marbre, la peinture et la dorure fut achevée sous le règne de Sa Majesté le Roi Fârûq Ier. Le coût total de la restauration s’éleva à cent mille livres égyptiennes.
Lorsque les travaux se terminèrent en 1358 A.H. (1939 E.C.), la mosquée fut inaugurée par Sa Majesté le Roi Fârûq Ier, qui ordonna par ailleurs la construction du minbar en marbre situé près du mihrâb. La position du nouveau minbar permet ainsi au prédicateur de faire face à tous les fidèles. On améliora également la niche de la qiblah en condamnant ses fenêtres avec de l’albâtre. La boiserie du mihrâb fut décorée au milieu avec le Nom de Majesté « Allâh », lequel est entouré par des dessins en relief, au-dessus d’un verset du Coran écrit en lettres d’or.
Cette mosquée est l’un des édifices incontournables du Caire et l’un des tout premiers monuments qu’on peut apercevoir en approchant de la ville de n’importe quelle direction.
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
Vase with Cover (Vase des Âges) (one of a pair)
•Factory: Sèvres Manufactory (French, 1740-Present)
•Decorator(s): Charles Nicolas Dodin (French, Versailles 1734-1803 Sèvres); Gilded by Henry-Martin Prévost (French, Active 1757-97)
•Artist: Decoration after a design by Jean Michel Moreau the Younger (French, Paris 1741-1814 Paris)
•Date: 1788
•Culture: French, Sèvres
•Medium: Soft-Paste Porcelain
•Dimensions:
oHeight (with Cover): 19½ in. (49.5 cm)
•Classification: Ceramics-Porcelain
•Credit Line: Bequest of Celine B. Hosack, in memory of her husband, Alexander E. Hosack M. D., 1886
•Accession Number: 86.7.1a, b
On view at The Met Fifth Avenue in Gallery 523.
Two vases des âges in the Museum’s collection are among the most significant pieces of Sèvres porcelain in a large and distinguished collection. Both vases represent the first or largest size of the vase des âges, measuring 19½ inches high. This model was produced in three sizes, and the type of busts that serve as decorative handles varied according to size, with busts of bearded men found on examples of the first size. Both of the Museum’s vases are decorated with a dark blue (beau bleu) ground, an elaborate figural scene (mignature) on the front reserve, and a back reserve depicting a large floral arrangement in a vase on a marble top. The two vases are decorated with identical patterns of gilding, composed predominantly of garlands of laurel leaves and elongated scrolls that encircle the neck and frame the oval reserves. Each vase bears the painter’s mark of Charles-Nicolas Dodin (active at Sèvres 1754-1803) and the gilder’s mark of Henri-Martin Prévost (active at Sèvres 1757-97). The vases appear to be further linked by the fact that not only is the primary reserve of each derived from a print after Jean-Michel Moreau (1741-1814), known as Moreau le jeune, but also because the prints in question were published as part of Moreau’s Seconde Suite d’Estamptes, pour servir à l’Histoire des Modes et du Costume. However, the date-letters on the undersides of the bases indicate that thye were made six years apart. One vase (86.7.2a, b) is marked with the date letters “ee” for the year 1782, while the other (86.7.1a, b) is marked with two “ll”s, the date-letters for 1788.
Signatures, Inscriptions, and Markings
•Marking:
oPainted in Gold Enamel Underneath Base: [1] Crossed foliate Ls enclosing II (Sèvres factory mark and date letter for 1788); [2] K (decorator’s mark for Charles Nicolas Dodin); [3] HP (gilder’s mark for Henry-Martin Prévost)
Provenance
David Hosack; Celine B. Hosack (until 1886; bequeathed to MMA)
Timeline of Art History
•Essays
oArt Nouveau
oEmpire Style, 1800-1815
oExoticism in the Decorative Arts
oFrench Furniture in the Eighteenth Century: Case Furniture
oJean-Baptiste Carpeaux (1827-1875)
oLouis-Rémy Robert (1810-1882)
oSaint Petersburg
oSèvres Porcelain in the Nineteenth Century
•Timelines
oFrance, 1600-1800 A.D.
Mebelital - Итальянская мебель от производителей
Итальянская мебель - Boiserie Italia - Italy / Италия
Living Rooms / Гостиные - Sofas / Диваны - Bedrooms / Спальни
Date:ca. 1774, with later additions
Culture:French, Paris
Medium:Carved, painted, and gilded oak
Dimensions:Overall: H. 11 ft. 8-1/2 in. x W. 22 ft. 10-1/2 in. x L. 25 ft. 6 in. (3.56 x 6.96 x 7.77 m); or H. 140-1/2 x W. 274-1/2 x D. 306 in. (356.9 x 697.2 x 777.2 cm)
Classification:Woodwork
Credit Line:Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1972
Accession Number:1972.276.1
On view at The Met Fifth Avenue in Gallery 527
The splendour of the French nobles is confined to their town-residence: that of the English is more usefully distributed in their country-seats.— Edward Gibbon, Memoirs of My Life
When installed in the Hôtel de Cabris in Grasse, this paneling lined the walls of a considerably smaller space than it does today. Originally the room had five sets of double doors (now reduced to four) and an equal number of mirrors (now three). A wonderful harmony must have been achieved by alternating the carved and gilded woodwork with the reflective glass surfaces. Mirrors were very effectively used in eighteenth-century French interiors, offering unlimited perspective views and magically making the rooms appear larger than they were.
The Museum’s paneling was commissioned in Paris for the new residence of Jean-Paul de Clapiers, marquis de Cabris (1749–1813), and his wife, Louise de Mirabeau (1752–1807), which had been built between 1771 and 1774 by the little known Milanese architect Giovanni Orello, who resided in Grasse. The Parisian sculptor André Brenet (ca. 1734–after 1792) supervised the interior decoration of the house. According to the inventory drawn up in February 1778, the hôtel had been left unfinished and in a state of disarray and this boiserie, intended for the salon de compagnie, or reception room, remained unpacked and in crates. This must have been due to the calamity that befell the family that same year: the marquis de Cabris had been declared insane and his wife confined to a convent. It is probably also the reason that the overdoors and panels over the mirrors were not completed. The paneling was installed later, and it remained in the house until 1910, when it was purchased by E. M. Hodgkins, a dealer from England who resided in Paris. Together with the rest of Hodgkins’s effects, the woodwork elements were auctioned off in 1937. Duveen Brothers, the international firm of dealers and decorators, sold the paneling to the Charles Wrightsmans in 1957 for use in the dining room of their Fifth Avenue apartment. It was for this installation that the paneling was first rearranged and augmented.
The decoration of the room, with its dignified moldings, geometrical forms, and preference for Greek and Roman ornament, is a pure expression of the Neoclassical style. The rounded corners are carved with different trophies of musical instruments that are suspended from bow-tied ribbons and hung from an imaginary nail (see detail page 36, below). Smoking incense burners on tripod stands, a motif derived from classical antiquity, embellish the upper door panels, while those below show flaming torches. Both sets of panels have, in addition, crossed laurel and olive branches, ancient symbols of victory and peace. Here they may refer to the local vegetation, just as the incense burners may allude to the perfume industry of the Provence region. The combined use of dulled and burnished gilding creates a particularly lively effect, as is seen, for instance, in the laurel leaves with their beautifully rippled edges that are left matte, contrasting with the lustrous stems of their branches.
Epigraph. Gibbon 1788–93/1966, p. 125.
Department
European Sculpture and Decorative Arts (42,455)
Object Type / Material
Gilt (9,167)
Oak (1,176)
Painting (6,273)
Wood (15,082)
Woodwork (2,296)
Geographic Location
Europe (168,004)
France (55,728)
Paris (6,770)
Date / Era
A.D. 1600–1800 (75,152)
Charlemagne is shown wearing a golden early 16th century armour. Note the earlier fan-shaped flutings on his breastplate and cuisses (just before the proper Maximilian style kicked in), and the exuberant barding of the horse.
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. 1780-90
•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.
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.
Mebelital - Итальянская мебель от производителей
Итальянская мебель - Boiserie Italia - Italy / Италия
Living Rooms / Гостиные - Sofas / Диваны - Bedrooms / Спальни
The Yea Shire Hall in Yea’s main thoroughfare of High Street was originally a single storey building erected in 1877. The grander double storey Victorian Academic Classical building with a tower that stands on the site today was built in 1894 by architect L. J. Bishop. Its construction is of concrete with cement rendering. Its facilities include a ballroom, a stage, two dressing rooms and a supper room.
The Yea Shire Hall has aesthetic appeal and is of social significance, as it was the headquarters of the shire and council meetings, which were conducted in the building’s supper room. Today, the hall caters for the cultural, amusement, entertainment and recreation needs of the community. Remodelling was undertaken in 1894 and extensions in 1923 when the building’s kitchens were finally sewered. The office accommodation was converted to sewered toilet rooms in 1968.
The hall is typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in the Academic Classical style. The building is symmetrical with rounded windows and entrance inspired by Roman or Renaissance architecture. The construction date of 1894 and building’s name appear above the doorway on the pediment. The pedemented portico is inspired by a classical temple front, which may also have inspired the Corinthian topped columns that ornament the front. The façade itself, covered in cement render, has the ground floor as a base and the main floor treated like a piano nobile. Other typical attributes of the Victorian Academic Classical style include the balustrade ornamented parapet, which conceals the roof, and perhaps the building’s most impressive feature, the prominent central tower with its mansard roof. The tower employs classical motifs and garland boiseries and features a working clock.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
Desk may be the one specially made for King Louis XV. Paris 1736-52. Wrightsman Galleries for French Decorative Arts at Met Museum
The Yea Shire Hall in Yea’s main thoroughfare of High Street was originally a single storey building erected in 1877. The grander double storey Victorian Academic Classical building with a tower that stands on the site today was built in 1894 by architect L. J. Bishop. Its construction is of concrete with cement rendering. Its facilities include a ballroom, a stage, two dressing rooms and a supper room.
The Yea Shire Hall has aesthetic appeal and is of social significance, as it was the headquarters of the shire and council meetings, which were conducted in the building’s supper room. Today, the hall caters for the cultural, amusement, entertainment and recreation needs of the community. Remodelling was undertaken in 1894 and extensions in 1923 when the building’s kitchens were finally sewered. The office accommodation was converted to sewered toilet rooms in 1968.
The hall is typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in the Academic Classical style. The building is symmetrical with rounded windows and entrance inspired by Roman or Renaissance architecture. The construction date of 1894 and building’s name appear above the doorway on the pediment. The pedemented portico is inspired by a classical temple front, which may also have inspired the Corinthian topped columns that ornament the front. The façade itself, covered in cement render, has the ground floor as a base and the main floor treated like a piano nobile. Other typical attributes of the Victorian Academic Classical style include the balustrade ornamented parapet, which conceals the roof, and perhaps the building’s most impressive feature, the prominent central tower with its mansard roof. The tower employs classical motifs and garland boiseries and features a working clock.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
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.
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.
Christian VII's Palace is also known as Moltke's Palace, and was originally built for Lord High Steward Adam Gottlob Moltke. It is the southwestern palace, and has been since 1885 used to accommodate and entertain prominent guests, for receptions, and for ceremonial purposes.
Moltke’s Palace was erected in 1750-1754 by the best craftsmen and artists of their day under the supervision of Eigtved. It was the most expensive of the four palaces at the time it was built, and had the most extravagant interiors. Its Great Hall (Riddersalen) featured woodcarvings (boiserie) by Louis August le Clerc, paintings by François Boucher and stucco by Giovanni Battista Fossati, and is acknowledged widely as perhaps the finest Danish Rococo interior.
The mansion was formally opened on 30 March 1754, the King’s thirtieth birthday. Due to Eigtved's death a few months later, such follow up work as the Banqueting Hall, was completed by Nicolas-Henri Jardin.
Immediately after the Christiansborg Palace fire in March 1794 and two years after the death of the original owner, the palace was sold to the royal family, headed by the schizophrenic King Christian VII. It was the first of the four palaces to be sold to the royal family, and Caspar Frederik Harsdorff was assigned to turn it into a royal residence. They moved in December 1794.
After Christian VII’s death in 1808, Frederick VI used the palace for his Royal Household. The Ministry of Foreign Affairs used parts of the Palace in the years 1852-1885. For short periods of time in the intervening years the palace has housed various members of the royal family while restoration took place on their respective palaces. In 1971-1975 a small kindergarten was established at the palace, and later a schoolroom, for Crown Prince Frederik and Prince Joachim.
After 200 years the facade, decorated by German sculptor Johan Christof Petzold, was severely damaged, causing parts of Amalienborg Place to be closed off to prevent injury. Since 1982 both the exterior and interior have been restored. Restoration work was completed at the beginning of Copenhagen's year as European Capital of Culture in 1996. In 1999 the restoration was awarded a medal by Europa Nostra, an international preservation organisation.
The palace is occasionally open to the general public.
(Wikipedia)