BOOK REVIEW: Pierre Gouthière: Virtuoso Gilder at the French Court

Pierre Gouthière: Virtuoso Gilder at the French Court

gouthiere-lo-res-frontcover

Christian Baulez and Charlotte Vignon. Contributions by Anne Forray-Carlier, Joseph Godla, Helen Jacobsen, Luisa Penalva and Emmanuel Sarméo

UK£54.95 / US$79.95
ISBN — 978-1-907804-61-8
Published by GILES in association with the Frick Collection

 

This is a wonderful book for anyone interested in 18th century French decorative arts and interiors. Published to accompany an exhibition – just closed at the Frick Museum but opening in Paris on March 16th – it is a detailed consideration of Gouthière’s work in every way.

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The essays by leading experts and scholars reveal his life and work; the architects and designers for whom he worked for and the craftsmen he used for the production of the finished commissions. There is a fascinating section on techniques and skills used in the creation of these stunning mounts.  Indeed Gouthière is believed to have invented dorure au mat – a matt finish for which his work is noted. The last essay considers the appeal of Gouthière’s name to 19th century British collectors and how things were often wrongly attributed to him.

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The last major work on Gouthière was published in 1912 and so this beautifully illustrated volume is extremely welcome, especially as it includes a catalogue raisonné of the forty-nine pieces that are definitely attributable to him. It’s interesting to note that he only once made furniture mounts and that was for a jewellery cabinet for Marie Antoinette which was sold after the French Revolution and most probably dismantled. I also hadn’t realised that he worked in silver-gilt on a dessert service and toilette set.

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It is sad to think that Gouthière (1732-1813) never regained the popularity he enjoyed up until the French Revolution in his lifetime but this book allows us to fully understand and appreciate just quite how talented a man he was and what a stunning legacy he left for us to enjoy today. While I will probably not get to see the exhibition I am more than consoled by the fact that I have a copy of the book – possibly the next best thing to owning a Gouthière piece!

The authors: Charlotte Vignon is Curator of Decorative Arts at The Frick Collection, New York. Christian Baulez is an historian of French 18th-century decorative arts and architecture and former Chief Curator at the Château de Versailles. Anne Forray-Carlier is Chief Curator of 17th- and 18th-Century Decorative Arts at the Musée des Arts Décoratifs, Paris. Joseph Godla is Chief Conservator at The Frick Collection. Helen Jacobsen is Chief Curator at the Wallace Collection, London. Luisa Penalva is Curator of Gold, Silver, and Jewelry Collections at the Museu Nacional de Arte Antiga, Lisbon. Anna Saratowicz-Dudyńska is Curator of Silver and Bronze at the Royal Castle, Warsaw. Emmanuel Sarméo is an independent scholar.

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Paris Exhibition: Or virtuose a la cour de France: Pierre Gouthière (1732-1813) will open at the Musée des Arts décoratifs,, 16th March – 25th June 2017.

gilesltd.com

The Palais Rose recalled

Boni de Castellane & Anna Gould, La Mémoire Du Palais Rose, Christie’s Paris, 9 avenue Matignon, 75008 Paris, 7th March 2017

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

This sale takes us back into the Belle Époque where Boniface de Castellane, known as Boni, was one of the more famous dandies of the time and regarded as a tastemaker.  In 1895 he married the American railway heiress Anna Gould and her substantial dowry allowed them the following year to start building the Grand Trianon inspired Palais Rose which was completed in 1902.  It became a major centre in Parisian social life where Kings, Queens and aristocracy were received. The house was sumptuously furnished with old master paintings and drawings, furniture and porcelain of the best quality.

LOT 19 NÉCESSAIRE DE BUREAU ART DÉCO « JARDIN JAPONAIS », PAR CARTIER Estimation : €1.000.000-1.500.000 AN ART DECO 'JARDIN JAPONAIS' DESK SET, BY CARTIER Mouvement no. 2968872 ©Christie’s Images Ltd, 2017

LOT 19
NÉCESSAIRE DE BUREAU ART DÉCO « JARDIN JAPONAIS », PAR CARTIER
Estimation : €1.000.000-1.500.000
AN ART DECO ‘JARDIN JAPONAIS’ DESK SET, BY CARTIER
Mouvement no. 2968872
©Christie’s Images Ltd, 2017

However this idyll was not long-lived for in early 1906 Anna filed for divorce with Boni’s extravagances and expenditure being a major cause. Some of their collections were disposed of after the divorce and more after Anna’s death in 1961.  Anna however did leave a mixture of wonderful things to her grand-daughter Diane de Castellane and she lived surrounded by these elegant pieces, including the group of Boulle furniture which so evocatively recalls the interiors, sadly not photographed for posterity, with the exception of the staircase and a fireplace of the Palais Rose.  The building was demolished in 1969 but its large Salon des Arts decorated with marble carvings celebrating the arts by Jean-Paul Aubé are remembered in the four tinted plaster preparatory studies which hung in the dining room of Diane de Castellane’s apartment.

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

I think you will agree with me that the photographs of the apartment show what a beautiful place it was, filled with great treasures and giving us a fascinating glimpse into a world gone by.

BIBLIOTHÈQUE, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

BIBLIOTHÈQUE, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

 

LOT 74 JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS) L’heureux ménage huile sur toile, circulaire Diam.: 34,2 cm. (12.3/4 in.) Estimation : €500.000-700.000 J.-H. FRAGONARD, THE HAPPY HOUSEHOLD, OIL ON CANVAS, CIRCULAR ©Christie’s Images Ltd, 2017

LOT 74
JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS)
L’heureux ménage
huile sur toile, circulaire
Diam.: 34,2 cm. (12.3/4 in.)
Estimation : €500.000-700.000
J.-H. FRAGONARD, THE HAPPY HOUSEHOLD, OIL ON CANVAS, CIRCULAR
©Christie’s Images Ltd, 2017

 

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

 

 

 

 

 

 

 

 

 

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

 

LOT 52 PAIRE DE "VASES" EN PORCELAINE TENDRE DE SEVRES DU XVIIIe SIECLE, A MONTURES EN BRONZE DORE CIRCA 1770, MARQUE EN CREUX P Hauteur totale: 44 cm. (17.3/8 in.) Estimation : €80.000-120.000 Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris A PAIR OF 18TH CENTURY SEVRES PORCELAIN "VASES", WITH ORMOLU MOUNTS ©Christie’s Images, Ltd, 2017

LOT 52
PAIRE DE “VASES” EN PORCELAINE TENDRE DE SEVRES DU XVIIIe SIECLE, A MONTURES EN BRONZE DORE
CIRCA 1770, MARQUE EN CREUX P
Hauteur totale: 44 cm. (17.3/8 in.)
Estimation : €80.000-120.000
Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris
A PAIR OF 18TH CENTURY SEVRES PORCELAIN “VASES”, WITH ORMOLU MOUNTS
©Christie’s Images, Ltd, 2017

 

LOT 142 PAIRE DE MEUBLES À HAUTEUR D’APPUI DU DÉBUT DE L’ÉPOQUE LOUIS XVI ESTAMPILLE DE JEAN-LOUIS-FAIZELOT DELORME, VERS 1770-1780, RÉEMPLOYANT DES ÉLÉMENTS DE MARQUETERIE D’ÉPOQUE LOUIS XIV Estimation: €1.000.000-1.500.000 Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris. A PAIR OF LOUIS XVI ORMOLU-MOUNTED TORTOISESHELL AND COPPER BOULLE MARQUETRY AND EBONY MEUBLES-A-HAUTEUR-D’APPUI STAMPED BY JEAN-LOUIS-FAIZELOT DELORME, CIRCA 1770-1780, REUSING SOME LOUIS XIV MARQUETRY ELEMENTS ©Christie’s Images Ltd, 2017

LOT 142
PAIRE DE MEUBLES À HAUTEUR D’APPUI
DU DÉBUT DE L’ÉPOQUE LOUIS XVI
ESTAMPILLE DE JEAN-LOUIS-FAIZELOT DELORME, VERS 1770-1780, RÉEMPLOYANT DES ÉLÉMENTS DE MARQUETERIE D’ÉPOQUE LOUIS XIV
Estimation: €1.000.000-1.500.000
Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris.
A PAIR OF LOUIS XVI ORMOLU-MOUNTED TORTOISESHELL AND COPPER BOULLE MARQUETRY AND EBONY MEUBLES-A-HAUTEUR-D’APPUI STAMPED BY JEAN-LOUIS-FAIZELOT DELORME, CIRCA 1770-1780, REUSING SOME LOUIS XIV MARQUETRY ELEMENTS
©Christie’s Images Ltd, 2017

 

 

 

 

 

 

 

 

 

 

www.christies.com

The Giacometti of Hubert de Givenchy

The Giacometti of Hubert de Givenchy, Christie’s Paris, 9 avenue Matignon, 75008 Paris, 6th March 2017

 Hubert de Givenchy’s Manor at Le Jonchet ©Christie’s Images, Ltd, 2017

Hubert de Givenchy’s Manor at Le Jonchet
©Christie’s Images, Ltd, 2017

There are twenty-one pieces in this sale and they will be displayed in the week-long viewing prior to the sale in a manner that recalls the 1986 Diego Giacometti exhibition at the Musée des Arts Décoratifs in Paris. A couple of the pieces are decorated with deer symbols which reflect that Hubert de Givenchy was named after the Patron Saint of hunters Saint-Hubert.

Diego Giacometti 1902-1985 Grande table console aux cerfs Bronze à patine vert antique et chêne cérusé / patinated bronze and cerused oak H 85 x L 230 x P 70 cm / 33½ x 90½ x 27½ in Estimation : €400.000-600.000

Diego Giacometti 1902-1985
Grande table console aux cerfs
Bronze à patine vert antique et chêne cérusé /
patinated bronze and cerused oak
H 85 x L 230 x P 70 cm / 33½ x 90½ x 27½ in
Estimation : €400.000-600.000

I think it is only right to let the iconic designer sum this important sale up: “It is thanks to Gustav Zumsteg, an important fabric creator in Zurich, whose company was called Abraham, that I met Diego Giacometti. During one of my visits to Zurich, he offered me a gueridon made by Diego for the Kronenhalle, the famous restaurant owned by his family. Fascinated by its pure aesthetic, I asked him if it was possible to meet the artist and he introduced him to me shortly afterwards. The relationship I had with Diego for nearly 20 years turned quickly into friendship. He was a very kind man, simple, welcoming, discreet, and a talented craftsman. He started to create some pieces for my first house at Jouy at the end of 1960, and then for the manor of Le Jonchet at the beginning of the 1970’s. With this sale, I want to pay a further tribute to him, an additional recognition which he does not need, but which shows how important he was to me.”

 Hubert de Givenchy’s Manor at Le Jonchet ©Christie’s Images, Ltd, 2017

Hubert de Givenchy’s Manor at Le Jonchet
©Christie’s Images, Ltd, 2017

 

 Hubert de Givenchy’s Manor at Le Jonchet ©Christie’s Images, Ltd, 2017

Hubert de Givenchy’s Manor at Le Jonchet
©Christie’s Images, Ltd, 2017

 

 Hubert de Givenchy’s Manor at Le Jonchet ©Christie’s Images, Ltd, 2017

Hubert de Givenchy’s Manor at Le Jonchet
©Christie’s Images, Ltd, 2017

 

 

 

 

www.christies.com

Hockney Celebrated!

David Hockney, Tate Britain, Millbank, London SW1, until 29 May 2017

As I was unable to attend I asked John Kirkwood to go on my behalf – here are his thoughts:

Ossie Wearing a Fairisle Sweater 1970 Coloured pencil and crayon on paper 430 x 355 mm Private collection, London © David Hockney

Ossie Wearing a Fairisle Sweater
1970
Coloured pencil and crayon on paper
430 x 355 mm
Private collection, London
© David Hockney

This major retrospective of David Hockney to celebrate his eightieth birthday is a real trip through time as we go from his very earliest student drawings and sketches all the way through to his most recent work with iPads.

Garden 2015 Acrylic paint on canvas 1219 x 1828 mm Collection of the artist © David Hockney Photo Credit: Richard Schmidt

Garden
2015
Acrylic paint on canvas
1219 x 1828 mm
Collection of the artist
© David Hockney
Photo Credit: Richard Schmidt

Hockney’s innovative and immediately recognisable style stands out in every room.  There are what one might call ‘the old favourites’ like his portraits of Ossie Clark and Celia Birtwell with their cat Percy (1970-71 and Christopher Isherwood and Don Bachardy (1972) and of course A Bigger Splash (1967) which the curator amusingly described as ‘painting a splash by splashing paint’ but also photography and huge screens displaying The Wolds taking Hockney back to his home county.

Billy + Audrey Wilder Los Angeles April 1982 1982 Composite Polaroid 1117 x 1168 mm David Hockney Inc. (Los Angeles, USA) © David Hockney Photo Credit: Richard Schmidt

Billy + Audrey Wilder Los Angeles April 1982
1982
Composite Polaroid
1117 x 1168 mm
David Hockney Inc. (Los Angeles, USA)
© David Hockney
Photo Credit: Richard Schmidt

There are even two new works  created specifically for the exhibition being unveiled of Hockney’s garden in Hollywood; Garden # 3 2016 and Two Pots on the Terrace 2016 which demonstrate that he has lost none of his magic and in so many ways has returned to his roots,

Domestic Scene, Los Angeles 1963 Oil paint on canvas 1530 x 1530 mm Private collection © David Hockney

Domestic Scene, Los Angeles
1963
Oil paint on canvas
1530 x 1530 mm
Private collection
© David Hockney

 

9 Canvas Study of the Grand Canyon 1998 Oil paint on nine canvases 1003 x 1689 mm Richard and Carolyn Dewey © David Hockney Photo Credit: Richard Schmidt

9 Canvas Study of the Grand Canyon
1998
Oil paint on nine canvases
1003 x 1689 mm
Richard and Carolyn Dewey
© David Hockney
Photo Credit: Richard Schmidt

 

Going Up Garrowby Hill 2000 Oil paint on canvas 2133.6 x 1524 mm Private collection, Topanga, California © David Hockney

Going Up Garrowby Hill
2000
Oil paint on canvas
2133.6 x 1524 mm
Private collection, Topanga, California
© David Hockney

 

 

www.tate.org.uk/Hockney

Russian Art 1917-1932

Revolution: Russian Art 1917-1932, The Royal Academy of Arts, Burlington House, Piccadilly, London, W1, until 17thApril 2017

As I was unable to attend I asked John Kirkwood to go on my behalf – here are his thoughts:

Boris Mikailovich Kustodiev, Bolshevik, 1920 Oil on canvas, 101 x 140.5 cm State Tretyakov Gallery Photo (c) State Tretyakov Gallery

Boris Mikailovich Kustodiev, Bolshevik, 1920
Oil on canvas, 101 x 140.5 cm
State Tretyakov Gallery
Photo (c) State Tretyakov Gallery

This exhibition to commemorate the centenary of the Russian Revolution focuses on a momentous period in Russian history between 1917, the year of the October revolution, and 1932 when Stalin began his violent suppression of the Avant-Garde.

Wassily Kandinsky, Blue Crest, 1917 Oil on canvas, 133 x 104 cm State Russian Museum, St. Petersburg Photo (c) 2016, State Russian Museum, St. Petersburg

Wassily Kandinsky, Blue Crest, 1917
Oil on canvas, 133 x 104 cm
State Russian Museum, St. Petersburg
Photo (c) 2016, State Russian Museum, St. Petersburg

Divided into sections all the way from Salute The Leader, through Brave New World to Stalin’s Utopia, there is even a section on Fate of the Peasants.  Stalin came to power by promising to make the lives of the peasants better but once in power he ruined their lives by forming collective farms which destroyed the existing peasants’ way of life and livelihood.  All sounds a bit too familiar.

Isaak Brodsky, V.I.Lenin and Manifestation, 1919 Oil on canvas, 90 x 135 cm The State Historical Museum Photo (c) Provided with assistance from the State Museum and Exhibition Center ROSIZO

Isaak Brodsky, V.I.Lenin and Manifestation, 1919
Oil on canvas, 90 x 135 cm
The State Historical Museum
Photo (c) Provided with assistance from the State Museum and Exhibition Center ROSIZO

The post 1917 paintings are strongly nationalistic and utterly unsentimental – there is no room for doubting your allegiance to the State – but politicised as they are they remain strong and arresting images.  There are works by Chagall and Kandinsky and a room dedicated to over 30 paintings and architectons of Malevich seen together for the first time since 1932 in an exact reconstruction of the hang designed by the artist for the Leningrad exhibition that year.

Alexander Deineka, Textile Workers, 1927 Oil on canvas, 161.5 x 185 cm State Russian Museum, St. Petersburg Photo (c) 2016, State Russian Museum, St. Petersburg (c) DACS 2016

Alexander Deineka, Textile Workers, 1927
Oil on canvas, 161.5 x 185 cm
State Russian Museum, St. Petersburg
Photo (c) 2016, State Russian Museum, St. Petersburg
(c) DACS 2016

 

Kazimir Malevich, Peasants, c. 1930 Oil on canvas, 53 x 70 cm State Russian Museum, St. Petersburg Photo (c) 2016, State Russian Museum, St. Petersburg

Kazimir Malevich, Peasants, c. 1930
Oil on canvas, 53 x 70 cm
State Russian Museum, St. Petersburg
Photo (c) 2016, State Russian Museum, St. Petersburg

 

 

 

http://www.royalacademy.org.uk

Emma Revisited!

Emma Hamilton: Seduction and Celebrity (REVISITED), National Maritime Museum, Greenwich, London SE 10, until 17th April 2017

'Emma as the spinstress' by George Romney, 1784-85 ® Kenwood, English Heritage

‘Emma as the spinstress’ by George Romney, 1784-85
® Kenwood, English Heritage

I know that I only wrote about this exhibition on January 6th but I so, so liked it that I returned to see it again the other weekend AND I enjoyed it even more. Obviously I must be a bit of an Emma Hamilton “groupie” – and I make no apologies for it!

The exhibition provides not only a close-up view of one of history’s great love affairs but also gives an insight into the times that Hamilton and Nelson lived in.  It’s an engrossing journey into the past and I count myself fortunate that I have been able to immerse myself into this fascinating story twice.

'Britannia crowning the Bust of our late Hero Lord Nelson', 1805 by Thomas Baxter ® National Maritime Museum, London

‘Britannia crowning the Bust of our late Hero Lord Nelson’, 1805 by Thomas Baxter
® National Maritime Museum, London

Please, please don’t miss this show because it will no doubt be a long time before such an exhibition on this scale will be put on.

 

 

http://www.rmg.co.uk/emmahamilton

Fancy a Bargain?

George III period mahogany framed elbow chair, the three upper splats to the back, well carved arms with fine reeding over shaped and turned uprights with block toes, c. 1790 Height34.00 inch(86.4 cm) Width24.00 inch(61.0 cm) Depth25.00 inch(63.5 cm)

George III period mahogany framed elbow chair, the three upper splats to the back, well carved arms with fine reeding over shaped and turned uprights with block toes, c. 1790
Height34.00 inch(86.4 cm)
Width24.00 inch(61.0 cm)
Depth25.00 inch(63.5 cm)

The noted antique dealers Windsor House Antiques have found a novel way of marking sixty years of trading. They have launched House Bargains on their new website.  There you will find some wonderful pieces, including chandeliers, mirrors and cushions listed at substantial discounts.  Well worth a peek!

An exceptionally finely figured burr amboyna Gueridon of wonderful colour and patina and with original inset marble top. Second quarter of the 19th century, c. 1840 Height 30.00 inch (76.2 cm) Width 27.00 inch (68.6 cm) Depth 27.00 inch (68.6 cm)

An exceptionally finely figured burr amboyna Gueridon of wonderful colour and patina and with original inset marble top. Second quarter of the 19th century, c. 1840
Height 30.00 inch (76.2 cm)
Width 27.00 inch (68.6 cm)
Depth 27.00 inch (68.6 cm)

www.windsorhouseantiques.co.uk