Notebook

SURVEY OF THE DECORATIVE ARTS

NOTE BOOK

Jessica Denhez

Tuesday, 7-10 pm

Winter 2006

BAROQUE

Characteristics of the period:

Large, monumental scale intended to impress

Tendency to make a dramatic statement, bordering on melodrama

Colors are deep, rich jewel tones such as brilliant reds, golds, greens, purples,

and blues

Typical shapes include columns, acanthus leaves, foliage and fruit

Arabesque vine-like shapes create movement and vigorous diagonals

Most motifs are derived from nature (foliage, flora, fruits) and classical

elements such as urns and masks

Damask fabric – large scale stylized foliate design, often velvet on satin flame

stitch – and illustrated tapestry scenes are typical fabrics

Most common woods include oak, walnut and pale gold pear wood

Typical stone is marble, agate, lapis and ivory

Furniture inlay is usually designed with tortoiseshell, ebony and ivory

Metal usage ranges from pewter and brass, to copper and gold

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Examples of techniques/finishes:

Boulle Work – marquetry style perfected by the “ebeniste du roi” to

French ruler Louis XIV, Andre Charles Boulle. Boulle’s technique was to inlay

metal – usually brass or pewter – in an arabesque pattern into tortoiseshell

in carcases of furniture, such as commodes or cabinets. His trademark style

involved creating both a “premier partie” (inlaying metal into tortoiseshell)

and a “contre partie” (inlaying the companion piece in the exact opposite

of tortoiseshell into a metal background).

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Commode, ca. 1710–32 André-Charles Boulle (1642–1732). French Walnut veneered with ebony and marquetry of engraved brass and tortoiseshell, gilt-bronze mounts, antique marble top. The Jack and Belle Linsky Collection, 1982, The Metropolitan Museum of Art. www.metmuseum.org

Japanning – Catherine of Borganza, the Portuguese wife of English ruler Charles II,

influenced the English Baroque style by importing decorative items from the

Orient, such as Japanese laquered cabinets and chests which were placed on

ornate English stands. Since Japan closed doors to trade with Europe, local

craftsmen strove to emulate talented Japanese laquerists by creating their own

version of chests, called “Japanning.”

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Japanned Cabinet, from the Restoration period of 1680 to 1720. From “Furniture Styles – Laquer Furniture and Japanning in England.” http://www.furniturestyles.net/european/english/restoration-laquer.html

Example of textiles:

Tapestries – Baroque tapestry design typically depicts large figures with billowing

drapery engaged in dramatic action, within elaborate architectural borders, such as

Rubens’ “Triumph of the Church.” A collection of XVII century Baroque tapestries

from a Brussels workshop included illustrations of periods in the life of Julius Caesar,

the series “The Life of Man" and a biblical theme.

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http://www.metmuseum.org/toah/hd/tapb/pop%20up



The Taking of Lille by the army of Louis XIV from the History of the King series Tapestry, designed by Charles Le Brun; Woven at the Gobelins workshop of Jean Mozin, (1665–80) - Collection of the Mobilier National, Paris

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Flanders Tapestry in Black from Belgium, 54” width. Contents: 75% cotton, 25% rayon. Vertical repeat: 27” and horizontal 27”. From Belle Fabrics Industries, Inc. http://www.bellefabrics.com/classics/flanders.html

Damask – Damask fabric was comprised of a formal satin base Jacquard fabric with

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reversible pattern, historically a large floral or Renaissance pattern, created with

a flame stitch, and a balance between matte and sheen fabric. Originally a silk

fabric made in Damascus, in only one color, with patterns of flowers, branches

and animals in satin finish contrasting with the slightly textured taffeta

background. Multi-coloured damasks are called lampas. Contemporary damasks are

medium weight in a variety of designs and are for nearly any decorative fabric.



Versailles Damask in Nebbia/Blue from Italy, 54” width. Contents: 57% acetate, 43% spun rayon. Vertical repeat: 6 ½” and horizontal 6 ¾”. From Belle Fabrics Industries, Inc. http://www.bellefabrics.com/classics/versailles.html

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Versailles Palace in France, European Picture Gallery by Bill MacDougal. Example of deep red damask fabric as both a wall covering and drape/window treatment. http://goeurope.about.com/od/france/l/bl_versailles_7.htm

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Historic example of the period:

Baroque Console Table



Baroque Style Console Table, Italian Baroque style wooden console table. Carved, painted and gilt-wood console table with its original gray marble top. Circa 1860. Height 40 in., width 63 in., depth 26 in. Dealer is Milord Antiques, available at Harbor View Center for Antiques, Stamford, CT. http://www.harborviewantiques.com/Antique.asp?iid=33834&c=30

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Contemporary usage of historic example

Baroque Console Table - Reinterpreted

Wood Console as reinterpreted in a handcarved, ornate teak platform bed from Java. Carved boxes and Buddha also from Java. By Jim Hering, former showroom manager for Holly Hunt and the founder of HW Home with Ron Werner in Boulder, CO. Western Interiors. www.westerninteriors.com

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ROCOCO


More intimate, smaller scale than Baroque period. Still has large proportions,

but more enveloping style. Rococo is all about fantasy, amusement, and comfort

Colors during early Rococo are still bright, yet lighter and softer colors in tertiary

tones rather than jewel tones

Late Rococo colors are much softer, paler, more delicate and heading toward pastels

A much more feminine style, typical shapes include the “C-curve,” delicate cabriole

leg (resembling hind leg of a goat), and natural shapes such as flowers and vine-like

tendrils

Rocaille (rockwork) and coquille (shell) motifs are found throughout the Rococo period

through, for example, grottos with inlaid rocks and shells

Many motifs are derived from nature through vines and flowers and a love of monkeys

or “singerie”

Also prevalent is the adoration of Asian motifs, or “chinoiserie,” which is the European

interpretation of exotic pagados, birds, and foliage

Toile de jouy fabric – idealized views of country life by the bourgeouisie printed on

cotton, linen or even chintz

Tapestries are still used as wall hangings and the most common manufacturers are the

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Beauvais and Gobelins factories

Carpets are most frequently created by the houses of Aubusson (flat, tight weave) and

Savonnerie (cut pile)

Most common woods include first native walnut, then mahogany as well as marquetry

with lighter fruitwoods such as pear wood


En suite – a style of room arrangement in which all side chair frames, armchairs and sofas

match, as does fabric and wall coverings, bed hangings, and draperies. By using the same

furniture frame and fabric style as part of a series, a unity and cohesiveness is achieved.



The White Salon, the Embassy of Romania in Washington DC, designed in 1907 by Carrere and Hastings in New York. Design combines French style inspired by Parisian townhouses of Louis XV and Louis XVI. http://www.roembus.org/english/contact/descriere_ambasada.htm

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Boiserie – floor-to-ceiling wood paneled rooms, including doors, walls, and window

surrounds. The wood can be either painted, gilded, carved and/or waxed. Mirrors and

trumeaux can also be incorporated into the room and highly decorative, vine-like

elements are typically present.

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Boiserie, from the Hotel de la Bouxiere in Paris, France. From the Minneapolis Institute of Art (2003-2005). Ateliers Gohard New York. http://www.ateliers-gohard.com/details_en.php?prod=145&lstrub=10&rub=2

Chinoiserie – a French term for any aspect of Chinese influence on the arts and crafts of

Europe, whether produced by Chinese or European artists. Common during the Rococo

period due to the massive increase in exports from China following the lifting of China’s

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ban on foreign trae in 1684. Rococo chinoiserie reflects fanciful and poetic notions of

China, in objects such as textiles, porcelains and architecture via pagodas, birds, foliage

and even straw hats.



Louis XV Style, Chinoiserie Secretary, or ‘dos d’ane.” Painted and gilded with black laquer base. Late 18th or early 19th century. Dimensions: 29” wide by 18” deep by 38” high. French Accents, Fine Continental Antiques. http://www.faccents.com/item394.html

Blanc de Chine - a type of porcelain existing in China for centuries, which was exported

to Europe during the Rococo period. With the blanc de chine, or “white of China,”

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porcelain from the Dehua, Fjian Province in southeastern China, the white monochrome

wares used a bland glaze. European artisans then added ornate ormulu mounts to these

pieces.



Lidded Pot, porcelain Chinese blanc de chine (1622-1722) and French gilt bronze mounts about 1765-1770. Dimensions: 9 7/8” height, 7 3/8” width and 6 ¼” diameter. From the J. Paul Getty Trust/Museum. http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=6525&handle=li

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Sterling Silver – during the early Georgian English Rococo period, the English were the

first to arrive at the concept a dining room, dining table and silverware. Sterling silver,

the most valuable silver, is derived from “sterl,” which is Irish for silver weight. The

metal is 92 ½ parts pure silver mixed with another metal alloy.



Antique Silver Castor, small castor in sterling silver from the reign of George II. Hallmarked for London 1739, maker’s mark for Samuel. Vase shaped, with alternative panels in two designs on the pull-off lid. Hebeco Silver & Glass – quality British Hallmarked Sterling Silver. http://www.hebeco.co.uk/stock.asp?cat=georgian_eating_drinking

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Toile de Jouy – Created by German fabric printer Christophe-Philippe Oberkampf in Jouy-en-

Josas, France, around 1770, toile relieved the people's boredom with rococo curves, showy

swirls, and flamboyoant flourishes of the day. Typical motifs included pastorale or idealized

scenes of country life on cotton or linen, or sometimes chintz.



Pastorale Blue Toile Fabric, typical of the late 18th century and praising idyllic country life. Colored ground overlaid with baskets of flowers, birds, and scrolls. Printed on 100% coton. Dimensions: width 57”, repeat 14.38.” Pierre Deux, French Country. http://www.pierredeux.com/boutique/showproducts.cfm?catid=100&subid=186&products=list&startrow=1

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La Toile de Jouy, examples of modern interpretions or colors of classic toile fabric. From designers such as Boussac, Moline, SAT Creations, Brunschwig & Fils, and Manuel Canovas. From “Elle Decoration,” Mars 2006, France.

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Rococo Commode



Commode attributed to Jean-Pierr Latz, French, Paris about 1745-1750. Oak and walnut veneered with bois satine, gilt-bronze mounts and fleur de pecher marble top. Dimensions: 2 ft. 10 ½ in. height x 4 ft. 11 5/8 in. width x 2 ft. 2 5/8 in. depth. The Getty Center of Los Angeles. http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=6674

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Rococo Commode – Reinterpreted

Rococo Commode as reinterpreted by The Conran Shop (Sir Terence Conran) a 117 Rue de Bac, Paris, France. Covered entirely in vivid orange lacquer, this massive commode is a great classic “revisited with color and humor.” It measures 136 cm x 50 cm x h. 90 cm and costs 3,320 euros. From “Elle Decoration” – Mars 2006, France.

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EARLY NEO-CLASSIC


Even more intimate, delicate and smaller scale than the Rococo period

Colors during the Early Neo-Classic period are primarily pastels, such as soft green,

creamy white, eggshell blue, and dusty rose

Typical shapes include small geometric and diamond patterns, classic architectural

shapes, and the bellflower design

An even more feminine style inspired by Marie Antoinette, motifs continue to be

derived from nature through laurel leaves and garlanding, animals, and birds

Also prevalent are stripes, borders, ribbons and bows in all pastel colors and

combinations

Due to the discovery of Pompeii and Herculaneum, neoclassical motifs come to the

forefront in the forms of statues, vases, urns and cartouches

Carpeting (wall-to-wall) is invented by the English and the two primary styles are

Axminster (plush, cut pile) and Wilton (smoother, tighter looped carpeting pieced

together in 27” squares)

Most common woods include pale, golden satinwood and furniture is inlaid with oak,

beech, ebony, mahogany, and tulip, fashioned with simple curves and straight lines

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Marquetry - inlay with a nature motif - is now supplemented by the frequent use of

parquetry – inlay with a geometric motif

The art of gilding takes on many techniques: water and parcel gilding on wood and

mercury, gold leaf and varnish gilding on metal


Crossbanding – a woodworking technique that was initially a veneered border of cross-

grained wood with the purpose being to give strength to the edges of doors, panels, table

tops, etc. and to prevent damage from the occastional bump. It provided a strength,

which resisted chipping, but it also gave decoration, since the wood’s grain was at a

different angle to the main panel itself, providing an interesting border of contrasting

color.

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Mahogany Small Work Table, a George III 18th century mahogany work table with serpentine front, the veneered beechwood top with rosewood crossbanding and gallery above a slide with inset leather panel and turned ivory handles, supported by cabriole legs and back with quilted yellow silk screen framed with mahogany surround. England, Mallett Antiques. http://www.mallettantiques.com/begin.asp?email=Y&intSectionid=3&CatID=19&strReferenceID=FM046

Stringing – a woodworking technique that involves decorating the surface of a furniture

piece with a thin “string” (band or strip) of contrasting veneer, used as a decorative

border. This ornamentation is traditionally used to highlight the lines on a piece of

furniture by following an edge or outlining a panel.

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Oval Mahogany Console Table, close-up of a late 18th century Sheraton mahogany oval tilt top occasional table, the finely figured oval top with boxwood and satinwood stringing and satinwood crossbanding, above a turned column decorated with a reeded urn and fluted barrel, the outswept legs have a stylized foliate carving, supported on raised tapering feet. London, England. Mallett Antiques. http://www.mallettantiques.com/begin.asp?email=Y&intSectionid=3&CatID=19&strReferenceID=FW068

Wedgwood – Josiah Wedgwood, known as ‘the Father of English potters,’ built his pottery

at Etruria in 1769. He created ‘Queensware’, a range of cream fine earthenware that was

given royal patronage by Queen Charlotte, that ultimately was mass produced as a more

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simple ‘Creamware.’ He was also well known for his ‘Jasperware’ – white bas relief

figures placed on an unfinished deep blue, pink, or green bisque background. His

‘Basaltware’ of black, unglazed pottery took on a classic urn shape, sometimes featuring

white bas relief.



Wedgwood Jasperware Jardiniere, fine early dipped Wedgwood jasperware jardiniere dates from 1875. From the Graham collection of Wedgwood and other English pottery. Quite heavy (probably stoneware), it measures 4 1/2” tall and 4” in diameter. Charon’s Spoils Antiques. Ruby Lane. http://www.rubylane.com/shops/charonsspoilsantiques/item/17

Gilding - a very popular technique for applying gold leaf to wood or powdered gold to

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metal. Wood was gilded through ‘water gilding’ by applying a light layer of gesso, then a

thin layer of clay or red iron oxide, followed by water sizing and gold leaf, and finally

burnished with a flat bone/tool to polish it. If only small areas are gilded as an accent, it

is considered ‘parcel gilding.’ Metal gilding is typically achieved through ‘mercury gilding’

(gold and mercury applied in several layers), ‘gold leaf gilding’ (cast bronze fitting dipped

in liquid solution of mercury, then gold leaf – now outlawed), and ‘varnish gilding’

(alcohol and colored dyes mixed together to create a gold paint.



Giltwood Armchair, French 19th century Louis XVI water gilded carved Aubusson armchair, c. 1870. Dimensions: 40 ¾” height, 28” width, and 26” depth. Jan’s & Company French Antiques. Los Angeles, CA. http://www.jansantiques.com/Lot/jac857.html

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Embroidered Silk Fabrics and Tapestries – Chaise longues, bergere armchairs, and

fauteuil armchairs are luxuriously overstuffed in pastel colored silks and tapestries which

add to the richness in details. Upholstered tapestry harks most often from the Beauvais

and Aubusson factories, featuring floral patterns, birds, and ribbons and bows.



Louis XVI, “Ribbons and Pearls” Fabric, a beautiful pattern of a central bouquet framed by a garland, tied ribbon and pearls, in the tradition of Lyons’ silk fabrics with sumptuous visual effect in blue. 100% silk. Dimensions: 130 cm width, 58 cm vertical repeat. E-Luxus Fabrics. http://www.e-luxus-fabrics.com/soie_us/pres/frm_fiche.asp?id=5801

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Fauteuil with Embroidered Satin Covers, from the 18th century. Fauteuil a la reine was made about 1780 by Georges Jacob (1739-1814) and the carved and gilded frame is upholstered in white silk satin embroidered by colored silks. Design is in the style of Philippe de la Salle, the most prominent designer of woven silk fabrics of the period. Metropolitan Museum of Art, NY. http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=12&viewmode=0&item=58.75.26

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Early Neo-Classic Settee



Settee is French walnut Louis XVI style from c. 1890. Featuring red velvet fabric secured with brass nail head trim. Measures 53.5” length x 40” width x 21” depth with seat measuring 16” tall. From Go Antiques. http://www.goantiques.com/search/item_detail.jsp?id=975005&source=VYZ4474

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Early Neo-Classic Settee - Reinterpreted

Settee as reinterpreted by Ralph Pfeiffer and Felix Nibbes for Gut Und Schoen, as Sofa Moritz. A new divan or settee from Berlin, it boasts a ratio of two adjustable arm/back rests to one 6‘ 8” seating surface. From “Dwell” magazine. www.gutundschoen.com

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LATE NEO-CLASSIC


Scale is much heavier, bigger, regal and elaborate than the Early Neo-Classic period

and furniture tends to be more austere geometric

Colors during the Late Neo-Classic turn back to imperial, richer colors, such as golden

yellows, emerald greens, ruby reds and sapphire blues

During the Late Neo-Classic (French Empire, English Regency,and to a lesser extent

the Austrian/German Biedermeier period), one looks back to the classics with more of

an emphasis on imperial Rome (the Caesars) through military helmets, breast plates,

swords, portable campaign furniture and a heavier Roman version of the klismos chair

Another classic focus is on ancient Egypt, depicting sphinxes, caryatids, palm leaves

and exotic hieroglyphic motifs taken from Napoleon’s Egyptian campaign

Typical motifs include rosettes, bees, swans (Josephine’s favorite animal), “N” for

Napoleon and “B” for Bonaparte, stars and the eagle

Also still prevalent are stripes, laurel leaves and wreaths, and acanthus leaves

Fabrics tend toward animal print velvets and purely classic toile de jouy fabric and

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matching wallpaper

Most common woods continue to include primarily mahogany and delicate fruitwoods

for inlays

Ormulu and metal gilding continues to be very popular and furniture is fitted with

brass and ormulu figurines drawn from myth and history


Papier Peints (wallpaper) – the most popular Late Neo-Classic French papier peints, or

wallpapers, are by Jean Zuber of still extant Jean Zuber et Cie. in Alsace-Lorraine and

Joseph Dufour et Compagnie in Paris. Themes include nature, classical mythology and

landscapes of more exotic, foreign locales.

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Psyche au Bain, from Psyche, designed by Merry-Joseph Blondel and Louis Lafitte for Joseph Dufour et Compagnie in Paris in 1815. This Neo-Classic/Empire style wallpaper series in grisaille colors depicts themes from the Tales of Psyche by La Fontaine. Height of each panel is 1.82 meters and Bathing Psyche requires four panels. From Takaisin Galleriaan. http://www.wanhatkonstit.fi/Zuber_Psyche.htm

Grisaille – a French term meaning “gris” or “gray” for painting executed entirely in

monochrome, or various shades of gray, particularly used in decoration to represent objects

in relief. Zuber and Dufour were well known for painting in the grisaille style. Grisaille can

also be depicted by presenting woodwork, furniture, fabric and walls all in shades of gray.

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Odalisque in Grisaille, (1824-1834), by Jean-Auguste-Dominique Ingres and Workshop (French, 1780-1867). From the Catharine Lorillard Wolfe Collection, Wolfe Fund, 1938. Metropolitan Museum of Art. http://www.metmuseum.org/works_of_art/viewonezoom.asp?dep=11&viewmode=1&mark=1&item=38.65

Burl Woods – the simple Biedermeier Late Neo-Classic style was popular in the early 19th

century throughout most of Northern Europe, particularly in Germany and Austria. The

streamlined, highly polished Biedermeier furniture was officially only produced between 1810

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and 1835. Much of Biedermeier furniture was focused on unfussy style, clean lines and the

natural characteristics of the particular wood chosen. Typical woods included fruitwoods such

as maple, cherry and pearwood, as well as ash, elm, walnut, and birch. Burl woods were

commonly used, which provided honey golden tones as tiny swirls from cut growth rings of

diseased trees.



Biedermeier Style Antique Desk, made between 1815-1848, 56.5” height x 48” width x 26” depth. Biedermeier furniture continues to be highly desired for its timeless simplicity and elegance of form. Its influence can be seen in much of 20th century design, from high Art Deco to current Post-Modernism. From Antiquarian Traders. http://www.rubylane.com/shops/antiquariantraders/item/6275

Example of textiles:37

Classical Toile de Jouy and Embroidered Tapestries – toile de Jouy and Lyon fabrics

during the Late Neo-Classic period were typically focused on classical themes. Most

embroidered tapestries were from the houses of Gobelins and Beauvais and took on

imperial and classic components.



Toile de Jouy: Les monuments d’Egypte, c. 1808. Manufacture de Jouy (French, founded 1760), designed by Jean-Baptiste Huet (1745-1811) after a drawing by Louis-Francois Cassas (1756-1827). Roller-printed cotton. Length 98 ½ in. x width 38 in. Museum Accession. Metropolitan Museum of Art, NY. http://www.metmuseum.org/toah/hd/empr/ho_X.404.htm

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Tapestry: Portrait of Napoleon I, after a French painting by Francois Gerard (1770-1837), created by the Gobelins Royal Manufactory at the workshop of Michel-Henri Cozette (1754-1822). High-warp tapestry of wool, silk, and silver-gilt thread. 26-28 warps per in. Purchase, Joseph Pulitzer Bequest, 1943. Metropolitan Museum of Art, NY. http://www.metmuseum.org/toah/ho/10/euwf/hob_43.99.htm

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Horsehair Fabric – horsehair fabrics are used mainly for upholstery of both classical and

modern sofas and chairs, and specifically for the Biedermeier and Empire styles of furniture.

Horsehair is highly regarded for its silky sheen and lustre, simplicity, high quality, durability

and easy maintenance which is unequalled by any other natural fabric. The fabric material is

woven from a cotton or polyester warp and horse hair weft. As the weft is the horse tail hair,

the width of the fabric is restricted to a maxium of 70 cm/28 in.



Bee Horsehair Frabric, “Bee” themed horsehair fabric color no. RS, width of 26 in/ 65 cm and composition of 68% horsehair and 32% cotton. From The Old Horsehair Weaver in Berlin, Germany. http://www.horsehairfabrics.com/rs.htm

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Late Neo-Classic Armchair



Late Neo-Classic Armchair, attributed to Francois-Honore-Georges Jacob-Desmalter, in Paris, France, about 1810. Artisans made the frames from solid mahogany with gilt bronze mounts in the form of rosettes, strands of bellflowers, and leaves decorating the legs, arms and backs of the chair. Chair is upholstered with silk and wool Beauvais tapestry portraying

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a bird. Getty Center Museum. http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=6063


Late Neo-Classic Armchair - Reinterpreted

L’Austerlitz Armchair as reinterpreted by French designer Andre Arbus, one of the leaders of the Art Moderne movement that defined 1930s Paris. Arbus, who graduated from the Ecole des Beaux Arts created handcrafted pieces such as the L’Austerlitz dining chair to celebrate the formal symmetry of French Empire or Late Neo-Classic style. The Andre Arbus Collection is available at William Switzer showrooms in Vancouver, Los Angeles, and San Francisco. From “Western Interiors. www.williamswitzer.com.

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