Aestheticus Rex

Rare Tiffany Settee at Doyle New York

2012-02-07T18:27:00.000-08:00

Image via Doyle New York
Hello Dear Readers. Just a quick post this time but it is of the utmost importance. Thanks to an old colleague I was tipped off to this rare treasure that is slated to sell tomorrow (Feb. 8th) in Doyle New York's Belle Epoch auction. Let me introduce you to the Indian inspired carved wood settee crafted by Louis Comfort Tiffany for the music room of the H. O. Havemeyer house at 1 East 66th Street.

Image via Doyle New York
The modern upholstery may leave much to be desired but you must think it away. The Havemeyer mansion was one of the premier aesthetic movement homes in America when completed in 1892. Tiffany planned every detail of the decor and the music room was no exception.

Period Image of the Music Room
Unfortunately the home was razed in 1930 and its contents were divided by the family...some of which were disbursed. Thankfully for us many pieces have made it into public collections. From time to time they do appear at auction, but usually at Christie's and Sotheby's. Don't get me wrong, Doyle's is a New York institution, but you would expect a lot of this level to command the cover of an important December/June design sale. It is quite puzzling. Perhaps the consigner wants to sell discretely but the motive is unclear at this point.

Image Doyle New York
The provenance shows that the settee descended in the Havemeyer family for four generations but there is no direct indication that it was consigned by the family. It is a bit confusing as that would only add cache to the lot. That said, I have absolutely no doubt that it will sell at its estimate of $125,000-175,000. If I were a gambling man I would guess that it will sell in the $250,000-300,000 range. But there is no telling. This work is so exceedingly rare that it could easily fly despite being discretely inserted in a smaller sale venue. Until tomorrow we wait.-AR

Update:
Well I was proven to be a bit too conservative in my exhuberence, perish the thought. The lot sold this afternoon for $422,500.00. It is no surprise because lets face it...where can you find another one in private hands? I will let you know if any further details surface.--AR

Update II:
Well that did not take too long. My contact at Doyle's confirmed that there were seven active bidders competing for the settee. The lot was won by the powerhouse art consultancy McClelland + Rachen bidding on behalf of a private client. They represent some of the best 20th century art collectors so I am not surprised by this news. Evidently the underbidder was Margot Johnson who featured prominently in a previous post about Herter Brothers. How exciting. Until next time.--AR

Art Nouveau Jewelry at Sotheby's

2012-02-04T13:56:00.000-08:00

Detail via Sotheby's

Hello dear readers. The winter antiques/auction season is charging forward despite the fact that we have had little proof that winter has actually taken place in the Northeast thus far. As many of you know I am greatly distracted by interesting and historic jewelry. Thankfully Sotheby's Important Jewels sale this month does not disappoint. The specialists were able to cull a few fine Art Nouveau stunners from different collections for an impressive section in the sale. And here they are:

Image via Sotheby's

This rather florid pendant is by the incomparable Rene Lalique and dates to circa 1900. The enamel on gold is exquisite especially when you note the subtle details to the face enhanced by the engraving to the gold surface below. This was produced at the height of the Art Nouveau period and is exactly what a collector would want, which is likely factored into the estimate of $60,000-80,000.

Image via Sotheby's

This sinewy comb is a perfect marriage of Art Nouveau and Egyptian motifs. It dates to just after 1905 and being a part of the pre-plastic era, it is composted predominantly of translucent tortoiseshell embellished with enamel, opals and gold fitments. It is the work of Georges Fouquet, who in my opinion, does not get the credit he deserves as his works are on the same level as the venerable Lalique.

Detail via Sotheby's

It comes in at a more modest $10,000-15,000 and is really more of collector's cabinet piece but exquisitely designed nonetheless.

Image via Sotheby's

This next offering is composed of a brooch and a separate clasp of the same design by Rene Lalique. The pieces date to circa 1900 and are being offered at an estimate of $60,000-80,000. The decoration is comprised of gold with cream enamel and amethyst stones, the brooch further embellished with pink glass raspberries. While visually interesting the lot gives me pause as there appears to be more to the story. The lot description skirts the issue by merely noting that only the clasp is signed and that the brooch has a later pin fitment. It seems clear to me that these pieces started out life as part of a larger work, perhaps a necklace with the "brooch" serving as the centerpiece or pendent. It will likely sell as it is so rare, but I am not sure where it will fall at that estimate.

Image via Sotheby's

If the previous lot seems a bit lacking this next piece is definitely everything you would want and at the same estimate of $60,000-80,000. Like the peacock, the iridescent dragonfly was a creature emblematic of the Art Nouveau movement and sensibility. This pin of opposing dragonflies was crafted by Rene Lalique between 1903-1904 in enameled gold with opals. The wings are rendered in plique-a-jour enamel which makes them akin to little stained glass windows. It is definitely a technique you want to see in a Lalique piece. I have a strong feeling this work will fare well when it is up on the block. It is a microcosm of a larger work on view at the Metropolitan Museum of Art. I present the elaborate collar necklace that Lalique crafted for his second wife around 1900.

Image via Metmuseum.org

Again it relies on opals, enameled gold and the plique-a-jour technique....but obviously on a much larger scale and completely over the top as the artist was not constrained by the dictates of a client commission.

Image via Metmuseum.org

The collar is comprised of nine stylized maidens with wild Mucha-esque whiplash hair with arms flowing into a lobed frame with black swans on a pale blue plique-a-jour ground. Each maiden is flanked by impressive fire opals in gold vine-work mounts. The workmanship of these pieces is even more evident when you view the verso.

Image via Metmuseum.org

Truly exquisite as there is no need to provide this level of finish to the back of the work. It was donated to the Met in 1985 by the venerable Tiffany dealer Lillian Nassau. I once saw a painting of Nassau wearing the necklace and wish I could find an image of it. It shows the dramatic scale of the piece when worn.

Image via Sotheby's

The final lot to cover from the Sotheby's sale is this intricate pin executed by Georges Fouquet around 1910. Like the comb above, it is looking to the motifs of ancient Egypt for its primary inspiration (albeit filtered through the lens of the late Art Nouveau style). Again it is executed in enameled gold set with an array of semi-precious stones framed by a riviere of small rose cut diamonds. This work is priced at the seemingly popular estimate of $60,000-80,000. As a late Art Nouveau work it is beginning to stiffen-up looking ahead to what would become the Art Deco style. Fouquet took over his father's jewelry business in 1895 and his close alliance with Art Nouveau illustrator Alphonse Mucha is beyond apparent...even to the untrained eye. In 1902 he moved the business to 6 rue Royale and made quite the splash with its decor (designed by Mucha).

Period Image of facade via all-art.org

Period Image of interior via all-art.org

As you know, I do love a period image, but thankfully for us the shop was donated in its entirety to the Musee Carnavalet in Paris where it was faithfully reinstalled. Take-in the feast of details below. The next time you are in Paris it is a must see. We shall await the fate of the Art Nouveau gems at Sotheby's...until next time. AR

Image of interior via all-art.org

Detail via MGLM Architects

Detail via thetripplanner.com

Detail via Bit of Seasoning Tumblr

Facade detail via Melbourne Our Home Blogspot

The 58th Annual Winter Antiques Show

2012-01-22T17:48:00.000-08:00

I braved the snow to make it out to this annual extravaganza of needful things from across the globe. The offerings were varied as usual but as a decorative arts aficionado I am embarrassed to admit that I was more captivated by the fine arts offerings this time around. Starting with this arresting John Singer Sargent charcoal drawing of the dapper Robert Gould Shaw III in the booth of the venerable Fine Art Society of London. The quality is exceptional and it stopped just about everyone. It is no wonder that is already sold so early on in the fair (I would assume near the asking price of $160,00).

The sitter was the rather ill-fated son of Nancy Langhorne Astor who ultimately committed suicide after a long battle with alcoholism and depression. However dark the underpinnings may be, it is magnificent in its sheer presence. A quick look around the internet revealed that it surfaced in a small auction in Kent last year and achieved a tidy £23,000. Who knows where it will turn up next.

When you enter the show you are confronted by the Historic Hudson River Valley installation and this rather smart pair of American Gothic revival benches. They were actually owned by Washington Irving of Sleepy Hollow fame and date to 1836 which is rather early for this style in America. I was struck by their absolute purity, before the Gothic revival was watered-down and blurred into frilly Rococo revival permutations.

This simple sweeping wheel is mesmerizing in its simplicity and almost stark modernity. Suggesting the tracery of a rose window and at the same time a spinning wheel of the coming machine age.

Above one bench hangs a portrait of Washington Irving painted by John Wesley Jarvis in 1809. It is exquisitely painted with all the requisite Empire period drama. Who knew Irving cut such a handsome figure...but I digress.

I next stumbled upon the booth of Elle Shushan and their ever expanding array of portrait miniatures. I was particularly taken by this Henry Colton Shumway portrait of a gentleman circa 1840. The elegant elongation of his form is striking. You see it in the rather gossamer depictions of women of the period and is interesting to see in a male portrait.

Maison Gerard did not disappoint with this rare Jules Leleu partially lacquered cabinet from 1933. However my focus was diverted to the lacquer panels just above and to the left of it.

One depicts a stylized city scene and the other abstract geometrics heightened with eggshell lacquer. I initially thought they were the work of Jean Dunand but in fact they are by the relatively under appreciated French lacquer artist Pierre Bobot. He deserves a full post soon I promise as I feel that he will only increase in estimation as works by Dunand become increasingly scarce and out of reach to most collectors. The panels are old friends that I remember seeing at auction in Paris this past December. They were offered from the estate of the artist's daughter Marie Therese Bobot but failed to sell even at their modest estimates. I am sure they will fare better in the capable hands of Maison Gerard.

Finally, I was quite impressed to see three Alexander Calder stabiles in the booth of Jonathan Boos. They date from the mid-1950s and it is not surprising that they were all sold so early in the show. While they are technically "fine art" they appeal to my passion for design. They transform in appearance as you move around them. Truly a microcosm of the artist's work.

Until next time--AR.

Update: The Bobot eggshell lacquer panel has sold. The venerable Maison Gerard was asking $28,000 and I am sure it found a good home. The other "Skyscraper" panel is still available to the tune of $42,000. We shall see what happens after the final weekend! Happy Hunting!

Prince of Wales Plume Brooch at Auction

2011-12-12T19:10:00.000-08:00

Now I was on the fence about this post for the past few weeks for a multitude of reasons. The brooch comes from the collection of Elizabeth Taylor and is one the centerpieces of tomorrow's sale at Christie's. Primarily the exposure was giving me pause, but it was more the fact that I could not find a period image of the Duchess of Windsor wearing it that stopped me in my tracks...selfish? Perhaps, but it always adds to the mystique of an object and makes these posts so much fun to write, but I digress... For those who missed it, the brooch was created in 1935 and was a gift from Edward, Prince of Wales to his paramour Wallis Simpson making it one of those talismanic objects that in itself symbolizes one of the greatest romances of the 20th century.

The three joined plumes are a symbol of the Prince of Wales, the heir apparent, thus this gift in a sense demonstrated the Prince's intention to make the twice divorced Wallis Simpson his queen. It is the stuff of legend but it is a bit clouded as I have heard that it was given to Wallis in 1935 and conversely in 1955. Either way it is still a romantic notion. As the story goes, Elizabeth Taylor and the then Duke and Duchess of Windsor moved in the same circles and Elizabeth admired the brooch to the extent that Richard Burton asked the Duchess if he could copy it for Liz....the stylish Duchess agreed. However, a copy was never made.

After the Duchess died in 1986 her legendary jewelry collection was sold at Sotheby's Geneva the following year to benefit the Pasteur Institute. The legend goes that Prince Charles was part of the bidding war for the piece which was ultimately won by Taylor, bidding via telephone poolside from her home in Los Angeles...naturally. At the time she paid $449,625, so it seems a bargain at the present estimate of $400,000-600,000. I am guessing that it will break the million dollar mark given the success of the Duchess' other pieces that resurfaced last year. The piece now operates on many levels from Hollywood glamour to the centerpiece of legendary if not ill fated romances. I say that not to be melodramatic but I have always been haunted by this image of the bereft Wallis peering out of a window at Buckingham Palace after the Duke's funeral.

To add insult to injury the rest of the royal family decamped to Balmoral and left the Duchess to her own devices. The lost look in her eyes brings home her most famous quote "you have no idea how hard it is to live out a great romance..." Hopefully the brooch will find its way to the epicenter of another great romance... Until then we wait...AR

UPDATE:

Well, the important jewels session one just concluded. It took four and a half hours to sell a mere 80 lots in an industry that usually sells between 80-100 lots in an hour. This is a testament to the interest in the sale. The Prince of Wales Brooch performed as I suspected breaking just over a million dollars achieving $1.3M with buyers premium. The press release has yet to be issued so there is no telling what disclosures can and will be made. But this I do know, the brooch sold via telephone with an Asian Christie's representative named "Mei-Mei". So the brooch may be heading East. Hopefully we will know more soon. --AR

Thanks to Interior Design Hound a period image has finally surfaced online...whew!

Templeton Crocker Redux

2011-11-25T13:08:00.000-08:00

I must say, every auction season is always a gamble which adds the excitement and allure. One never knows what will surface and what prices will be achieved. In my previous post I highlighted the Jean Dunand panels at Christie's from the Templeton Crocker residence in San Francisco. Well, Phillips has a Jean-Michel Frank chair from the same commission.... this time from Mr. Crocker's personal study.

Image via Phillips

The chair itself, like the walls of the study, is embellished with straw marquetry, a particular Frank favorite. This marquetry has a shimmery effect not unlike satinwood, but is very delicate to say the least .

Image via Phillips

The marquetry here is regularly set in planks. I think it is best utilized at angles in sunburst effects as seen in a detail from the cover of Putnam's 1980 book on the artist.

The chair is priced at $90,000-110,000 which is a fairly odd increment and immediately makes me think that it is likely aggressive. That said, it is from a rare commission and according to the provenance it has not been on the market since Delorenzo Gallery sold it to a Connecticut collector in 1977. We will have to wait until December to see where it goes....AR.

Templeton Crocker Breakfast Room at Christie's

2011-11-19T12:36:00.000-08:00

Detail via Christie's

Well, the Christie's 20th Century Design sale catalogue is out and I heard correctly, it features the Jean Dunand lacquered paneling from the Breakfast Room of the Templeton Crocker penthouse in San Francisco. Templeton Crocker was the millionaire heir of the Union Pacific Railroad fortune and in 1928 he traveled to Paris to have none other than Jean-Michel Frank, Pierre Legrain, Jean Dunand and Madame Lipska execute the decor for his modernist apartment in the Russian Hill section of San Francisco. French Art Deco at this level was rare in the United States at the time and rarer still in the hills of San Francisco. It took these master craftsman a year before the interiors and design elements were shipped and installed. Below is a period image of the Breakfast Room.

Image via Christie's

Long time readers know my passion for places that no longer exist and the survival of this paneling is rare considering the fragility of the medium and the difficulty in re-using something that is so intrinsically site specific. According to a New York Times article, the apartment was dismantled in 1959 and its contents placed in storage until the collection was purchased by New York publishers Peter M. and Sandra Brant and over the years various bits and pieces have emerged at auction and in museum collections. The Breakfast Room paneling is a rich lustrous black lacquer decorated with cubist fish, bubbles and streaks of light rendered in eggshell.

Image via Christie's

You will notice the small vertical and horizontal slits and divisions as the panelling was set with discreet cupboards and fall fronts for storage. This could make the already site specific paneling a bit hard to swallow especially at an estimate of $250,000-350,000. One would think that if they could have been crafted into a screen it would have been done by now. I will view them in person and provide a follow-up on that front.

Detail via Christie's

I was really taken by the cubist lacquer table and the similar treatment of the ceiling. One wonders where the table is now...perhaps still with the Brant's... I have not seen it at auction.

Detail via Christie's

Fortunately, the Brants donated the Dunand master bedroom furniture from the Templeton Crocker commission to the Metropolitan Museum of Art, but it is presently in storage. Thankfully a period image of that room survives as well.

Image T. Bonney

While the furniture seems subdued in black and white the panelling betrays the vibrant truth. Thankfully the Metropolitan Museum is in possession of a maquette of the wall treatment.

Image via Metmuseum.org

The Met describes the bedroom suite as being executed in "lacque arraché, a technique Dunand favored, wherein a final coat of lacquer is applied over a roughened layer-in this case, metallic gray over black." Christie's offered a folding games table from the room in June of 2002 on an estimate of $30,000-50,000 but it was unsold. It picks-up on the cubist motifs of the walls.

Image via Artfact

It really gives you an impression of the art deco sleekness of the space. It was, however, Jean-Michel Frank's Sun Room decor that is in my estimation the best of the Crocker penthouse.

Image via Christie's

The sharp lines and the soaring windows revealing the cityscape beyond... one would think it was the height of Art Deco in New York. Pieces from this room have emerged but not in great quantity... at least not publicly. We will have to wait until the sale next month to see if the panelling will fly, until then we wait--AR.

Rateau Deja Vu at Christie's

2011-11-16T21:14:00.000-08:00

Well the important 20th century design sales at Sotheby's and Christie's have yet to be released but I caught wind of an old friend that will be back on the block. The tag line for this blog is not "the incestuous world of design" for nothing... but I digress. If you watch the market long enough you see things emerge, disappear and crop-up in the most unlikely of places. Anyway, the rather monumental Armand-Albert Rateau screen that I posted about in May of 2010 is back on the block in Christie's December design sale. As you may recall it passed at Sotheby's when offered in June of 2010 at the staggering estimate of $400,000-600,000 which I admittedly thought was a bit steep even for this coveted artist. The reality is that the screen is extremely site specific, rather narrow and soaring to over twelve feet. When I viewed it in person its seemed that it must have been designed to fit into a niche or block a window or doorway.

It has cooled its heels for the past 18 months and is out for another try, this time more realistically priced at $150,000-200,000. Like Sotheby's, Christie's was unable to determine its history which is always a sad situation with a piece of this quality, but at this revised price it will likely sell. Rumor also has it that Christie's also has Jean Dunand panelling from the breakfast room of the fabled Templeton Crocker penthouse in San Francisco... More to come I am sure--AR

Update: Well "love is lovelier the second time around" indeed. This time it sold, achieving $158,000. I am sure we will see this piece again...its awfully hard to miss.

Auction Accidents: The Herter Brothers Edition

2011-11-03T18:25:00.000-07:00

Now dear readers, this one goes back nearly a decade but it was a rather exciting discovery at the time. May I present the "ormolu-mounted lapis lazuli-inset and etched onyx pedestals" offered in the Christie's 19th Century Sale on April 24, 2002.

Image via Christie's

They were offered with no provenance and very little information besides their general description and an estimate of $25,000-30,000. Understandably, Christie's was taken aback when the lot soared to $130,500 and sold to top Victorian furniture dealer Margot Johnson. It turns out that there was a great provenance involved...there always is in these cases. I present a period photograph of the drawing room from the William H. Vanderbilt residence at 640 Fifth Avenue ca. 1882.

Inspiring, no? The home was decorated by the notable firm of Herter Brothers and was beyond lavish...even by the standards of 5th Avenue at the time. Now it may be hard to see what I am getting at so here is a detail.

This is a detail of the doorway in the center of the image above, note the columns flanking it. Thankfully for us Mr. Vanderbilt had the entire home documented in Edward Strahan's Mr. Vanderbilt's Home and Collections of 1883. It has richly colored images that give a true sense of the decoration.

Detail

It seems that Margot Johnson had a very keen eye, but according to an article in the Maine Antiques Digest she did not act alone. She was seen at the exhibition for the sale viewing the columns with Metropolitan Museum of Art curator Alice Cooney Frelinghuysen. It seems that Margot Johnson was purchasing them for the museum with the aid of American Wing donors Barrie A. and Deedee Wigmore. Within six months of the sale they were restored to their original appearance and installed at the museum.

Detail

As you can see the lapis-lazuli stones were removed and replaced with red glass cabochons to restore the original look as seen in the illustrations below. The left is a detail from the period photo, the center are as they appeared at Christie's and the right are as they appear today.

The cataloging on the Met's website reveals that it is their opinion that the columns do not come from the doorways, but from matching floor lamps that were in the corners....see the period images below.

Detail

I am not sure how they came to this distinction but I defer to their judgement. The Met also notes that Christie's specialist Sebastian Davies informed them that the consignor of the columns was a South American dealer. Little is known about their journey. The house underwent a complete redecoration in 1915 and was sold by the Vanderbilt family in 1942 and subsequently demolished. While we don't know exactly where they were for nearly ninety years it is great that they surfaced in such a dramatic fashion.

Update!

A reader brought to my attention that Hirschl & Adler Galleries offered a console from the drawing room at the Winter Antiques Show in 2002. Very small world of goods indeed. According to Antiques and Fine Arts Magazine the console descended in the Vanderbilt family and then made it into the collection of Liberace...go figure.

Image via Hirschl & Adler Galleries

Happy Halloween: Vampire Killing Kit

2011-10-31T09:34:00.001-07:00

Just a quick post that I had to send your way as it is Halloween. I have a predilection for the macabre and I always enjoy when one of these gruesome souvenirs come up at auction. May I present a rather extensive "Vampire Killing Kit" currently on the block at Sotheby's.

Image via Sotheby's

No one to my knowledge has fully explained these rather fun oddities. However, it has been asserted that these "kits" were actually lavish souvenirs for those who travelled to eastern europe in the latter part of the 19th century which corresponds with the height of interest in the gothic novel... rather fitting no?

Image via Sotheby's

This kit contains, in part "a carved ivory and black forest lindenwood crucifix, vials with garlic, salt and "holy water," a bible, a gun with a leather powder flask and silver bullets, a dagger, four stakes and a mallet, a moulded glass cross-shaped candlestick, and an English map of Galizia, Eastern Hungary and Transylvania."

Image via Sotheby's

Sotheby's is expecting it to fetch a hefty $20,000-30,000 in their 19th century sale on November 16th. We will have to wait and see where it goes. Happy Haunting--AR

Silver "Dreamer" at Sotheby's

2011-10-28T17:00:00.000-07:00

I promise I am not trying to be a marketing outpost for Sotheby's but a friend brought the catalogue for the sale of Carl De Santis to my attention and I was delighted to see lot 19. If you are a regular reader you are already aware of my obsession with places that no longer exist and the objects that were once contained therein. I present the Tiffany & Co. silver puzzle game from Thomas W. Lawson's yacht, "Dreamer".

Image via Sotheby's

Detail via Sotheby's

Some of you may recognize this as a "Tower of Hanoi" mathematical puzzle which was invented by French mathematician Edouard Lucas in 1893. It appears that Sotheby's has displayed it incorrectly. It should have all of the disks on one end in a graduated stack from largest to smallest. Basically the goal to to move the entire tower to the opposite tower one disk at a time, never stacking a larger on a smaller. It sounds mind numbing to an artistic soul like myself but you can see an animation of it here. The stand, complete with a compass, is surmounted by a rather jaunty bear in a sailor suit.

Detail of inscription via Sotheby's

For the life of me I could not find a single image of the "Dreamer" which was described by the New York Times on April 28, 1900 as being 175 feet long and equipped with his and hers suites for the Lawson's as well as five other staterooms and carrying six additional smaller boats all bearing "Mr. Lawson's private signal, a white bear on a blue block in the center of a white burgee." This would explain the bear motif. Lawson, the "Copper King", was a prominent Boston financier with a rather volatile career with fortunes won and lost several times over.

Having spent time as a child in Plymouth County, Massachusetts I was aware of this rather eccentric character. Around the turn of the century, Lawson's wife Jeannie was so taken with the coastal area just north of Scituate known as Egypt that he purchased large tracts of land for their country estate and farm "Dreamwold".

Lawson was obviously sticking with the "Dream" theme this time pairing it with "wold" meaning an elevated open plain. As you can see the estate was extensive and spawned a local landmark known as Lawson Tower. As legend would have it, in 1902 the town of Scituate was erecting a large water stand pipe infringing on the views from the back windows of "Dreamwold". Lawson saw fit to have the pipe clad as a German shingled tower complete with a clock and carillon bells.

Sadly, Jeannie Lawson died in 1906 and due to a significant reversal of fortune "Dreamwold" and its contents were auctioned in 1922 to settle $225,000 in back taxes and debts. The estate was significantly altered but the main house operated for years as a restaurant and event space later being converted into condominiums in the early 1980s. Thankfully the tower still looms in the distance as a fitting folly dedicated to happier times spent on this idyllic stretch of shoreline.

Present view of Lawson Tower (lower left) and the remnants of Dreamwold (upper right)

Lawson died a few years later in 1925 virtually penniless. As an aside, this little silver game was by no means the only unusual silver treasure Lawson owned, having acquired the solid silver dressing table and stool executed by Gorham for the 1900 Exposition Universelle in Paris.

Image via Dallas Museum of Art

The style is a blend of Chippendale meets art nouveau and fortunately for us it entered the collection of the Dallas Museum of Art in 2000. While the "Dreamer" is long since scrapped and "Dreamwold" is a distant memory this puzzle is a sentimental token of the gilded age and is priced to sell at $4000-6000(an example Sotheby's sold in 2001 achieved $9600). This puzzle was once thought to be unique, but others have appeared at auction at Christie's in 1992 and 1995, Bonham's in 1997, Northeast Auctions in 2000 and at Sotheby's in 2001. Granted the same example could have turned-up a few times, but it is highly unlikely that one unique piece could have appeared in all these sales. The "Dreamer" had five state rooms and numerous public spaces so it is very likely several puzzles were scattered about. We will wait and see where the gavel falls on November 4th.--AR

Update:

Well the sale came and went and the puzzle sold for $4,375 which is nearly half what the previous example sold for in 2001. Perhaps it is the economy or the fact that it is lacking an element (it likely had a thermometer in the empty hole opposite the compass). As an aside, in my research I discovered that when the game pieces are all stacked together properly the letters engraved on the sides spell out "Launched July, 1899, Designed by J F. Tams Builders, Crescent Shipyard, Built for T.W.Lawson, Boston, U. S.S.T.M. Yacht Dreamer".

Photo of the Day

2011-10-26T15:01:00.000-07:00

For lovers of 20th century design this is often referred to as Mecca...

Updated!

Ok many of you knew this. It is what I like to call "design mountain" at the Musee des Arts Decoratifs in Paris. This tasteful tiered ziggurat is an embodiment of the Fiell's 1000 Chairs. It is amazing to have the best chairs of the 20th century all in one spot. It is a must see...

Safra Sensation at Sotheby's

2011-10-25T18:44:00.000-07:00

Photo via Sotheby's

For those who are following the Fall auction season last week was the second in the series of sales that Sotheby's has hosted from the collection of Edmond and Lily Safra. The event consists of six catalogues spread over four days of sales. The collections are exhaustive and completely top-notch. I have opted to cover one lot that really got me excited. May I present the late Louis XVI Secretaire and Commode formerly in the Hamilton Palace Collection...

Photo via Sotheby's

What can I say....these are completely tour-de-force examples from the period that hit all the high points: sumptuous ormolu mounts, top level Japanese lacquer panels and an amazing pedigree.

Photo via Sotheby's

The overall style and in particular the use of this caryatid mount led scholars to assert that the pieces were made by Adam Weisweiller.

Photo via Sotheby's

The choice of satinwood for these interiors is always a welcome surprise. It is light and clean....starkly organized in juxtaposition with the complex ornament of the exterior

Photo via Sotheby's
I know I have mentioned in the past that Japanese lacquers were repurposed from their export forms to be used as sumptuous panels in other luxury pieces. These panels are spectacular utilizing most of the Japanese techniques. My favorite accent being kirigane, the pattern of square metallic pavers inserted in the edge of the hillside. In examples that are untarnished they catch the light as you pass by.

Photo via Sotheby's

It wasn't too much of a shock that these pieces sold for $6.9 million. They are museum worthy and on par with another set in the collection of the Metropolitan Museum of Art.

Photo via Metmuseum.org

This similar secretaire and commode were executed in 1783 by Jean-Henri Riesener form the private use of Marie Antoinette at the chateau of Saint-Cloud. After the revolution they too ended up in the collection of the Duke's of Hamilton. One wonders if both sets were displayed together. All told the Week of Safra sales made $45.9 million and you can review the results here. I was shocked and amazed at the results of the Russian porcelain section. Until next time-- AR

Photo of the Day

2011-10-17T20:50:00.001-07:00

I am not preparing for Halloween early...I promise. Any guesses?

Update!

Well my commenter got it right it is indeed a stylized satyr capping the herm supports of this unusual Louis XVI rogue marble and ormolu tazza. They are on a stair landing at the Wallace Collection and really make you stop and take notice. I love works like this that really take a rather common form and nuance it with amazing details.

As if the satyrs were not enough there is the inconspicuous snake swirling around the central support.

The ormolu is top notch which would explain why the Wallace curators believe it was executed by master bronzier Pierre-Philippe Thomire.

They are great from every angle...a consummate object indeed. Until net time --AR

Auction Accidents

2011-10-16T17:14:00.000-07:00

I am a little late to the party on this one, but this is a subject that is always exciting and generates much ink in the art world. I like to call them auction accidents...when items are mis-catalogued and achieve stunning results to surprised onlookers. May I present the Chippendale "style" mahogany dining chairs that were offered by Pook & Pook of Downington, PA in June of 2009.

Image via Pook & Pook
They came from the collection of El Roy and Helene Master which was known in Americana circles as a multi-generational collection spanning the last 100 years. For more about the collection see the review in the Maine Antiques Digest. The chairs were believed to be copies of 18th century Boston chairs after the designs of Robert Manwaring and were offered at a mere $1500-2500.

Parlour Chair: Plate 9 of The Cabinet and Chair-Maker's Real Friend and Companion, 1765, by Robert Manwaring via Metmuseum.org

The chair design on the left is clearly the inspiration for these chic chairs. While they are Rococo holdovers I love the little flicker of gothic seen in the ogee at the bottom of the splat.

Detail of a Master collection chair

Detail of Manwaring design via Metmuseum.org

It turns out that the chairs were indeed period and nearly identical to a rare 18th century pair of Boston chairs that were given to the Metropolitan Museum of Art in 1939.

Image via Metmuseum.org

Luckily the sale at Pook & Pook was well advertised and well attended. The mis-catalogued chairs made an astounding $163,800 even in the down economy and at a small regional venue....that is no small feat and speaks volumes about their rarity and quality. Until next time. --AR

Photo of the Day

2011-10-16T14:41:00.000-07:00

Love the play of pattern in the fine details...

Update:

Well our commenter was correct it is of Egyptian inspiration but filtered through the lens of the English arts and crafts movement. I present Liberty and Co.'s fabled "Thebes" stool.

Clearly Liberty is summoning a true understanding of ancient Egyptian forms which was a refreshing change amidst the veritable ocean of sham revival styles in the 19th century. This particular example dates to 1880 and is formed out of very nicely figured walnut.

The dished yet squared top is hauntingly modern, which is only enhanced by the rigid geometry of the woven seat.

This example is presently on sale in the vintage section of Liberty in London for the princely sum of £2,850. But not to worry they do come up at auction for those who are not in need of the full retail experience. Christie's South Kensington outpost is offering a lovely example in beechwood next month for a mere whisper of the Liberty price at an estimate of £700-900. We shall have to wait and see where it goes... --AR

Photo of the Day, Part II

2011-10-06T21:28:00.000-07:00

The last post left everyone stumped....this may help.... Does it?

Sorry to be away for a few days, but sometimes life does get in the way... but what a majestic beast to leave you with. I added it in hopes that it would help solve the previous post, but this was a hard one. May I present the "Clodion" vases from the Louvre...

Detail of the impala antelope vase

The name Clodion refers to the 18th century vase shape designed by none other than Claude Michel known as Clodion. These vases have great pedigree, being acquired by Louis XVIII for his brother the future Charles X. Works of this nature require a veritable army of designers to execute the final work. While the shape is typically neoclassical the final product is 19th century exotic fantasy. However, great care was taken to realistically capture the splendors of what was then becoming colonial Africa.

Detail of the kudu vase

Detail of the kudu source image from Daniell's African Scenery and Animals

The depiction of the kudu was taken directly from a print source, Samuel Daniell's African Scenery and Animals of 1804 and reflects the increasing interest in natural history.

The jeweled and plumed bronze elephant handles are particularly stunning. An added touch of whimsey is found in the mottled tortoiseshell painted ground....a particularly difficult feat to achieve in porcelain decoration.

Detail of the molded and chased bronze ring mount

The vases were purchased by the Louvre in 1989 but unfortunately I know nothing more of that story.... Until next time --AR

Photo of the Day

2011-10-02T21:47:00.000-07:00

Very well rendered, no? But there is more to it....as usual-AR

Photo of the Day

2011-09-29T19:14:00.000-07:00

Getting locked in a floral theme I guess...

Update!

This bit of colorful floral embroidery comes from a circa 1745 court dress in the earlier mantua style. Feast your eyes on these door blocking proportions.

Botanically correct embroideries and similarly printed floral textiles were all the rage in Rococo England thus the width of this dress maximizes the opulent display of the owner's wealth and status.

Detail of back via collections.vam.ac.uk/item/O78803/mantua

It amazes me that pieces like this survive, again we must thank the country house tradition where this was likely pased down and stowed in an attic. The Victoria and Albert Museum acquired it from a Christie's textiles sale in 1969 with no provenance, but photographs later surfaced showing the piece in the late 19th/early 20th century and associating it with the wedding of an Isabella Courtenay on May 14, 1744. Read the rest of the details here.

Photo of the Day

2011-09-28T22:04:00.000-07:00

A pop of detail to start your day...

Update!

This lush marquetry (inlaid wood) panel is mounted on a French circa 1700 armoire made by court designer Andre Charles Boulle. His surname has become synonymous with rich inlays. A piece of furniture inlaid with tortoiseshell and engraved metals is known as "boullework" wether it was made in the 17th century or last Tuesday...

It is over the top but is a complete tour de force, the lower two panels in particular are what we classically know as boullework. The floral marquetry thew me for a loop as I usually associate it with Flemish tables...but I digress.

It really is amazing, especially the butterflies and detail achieved to the parakeets. When new the inlays would have been dyed in naturalistic tones.

This detail of the corner shows horn that has been flattened and painted blue to the verso and inlaid with metals. I had to make sure it wasn't lapis. Very wild, but surprisingly the pop of color works. Until next time. -AR

Photo of the Day

2011-09-27T19:25:00.001-07:00

Not trying to stay on a sculptural theme...I just love this detail.

Update!

This lush detail is from the Fontaine du Marché-aux-Carmes in the Square Gabriel-Pierné in Paris...

The fountain was sculpted by Alexandre-Évariste Fragonard (brother of Jean-Honoré Fragonard) in 1830 for the Marché-aux-Carmes. It stayed in the Marché until 1930 when it was moved to its present location.

EUGÈNE ATGET, Fontaine, marche des Carmes, rue des Carmes: V Quartier de la Sorbonne, 1898 via Phillips de Pury & Company

Profile view via Promenade d'une fleur urbaine

The single herm is composed of bust with two faces dedicated to commerce and abundance. It is very stark and commanding in its present location which is more about tranquility and open space...

Photo of the Day

2011-09-26T18:55:00.000-07:00

Today's installment takes a more classical approach...

Updated!

May I present the figure of the River God from the Parthenon in Athens....presently located at the British Museum in London. To keep things light I won't go into Lord Elgin and the controversy of how the Parthenon marbles made there way to England, you can read that story here.

Detail of the River God facing toward the remnant of Hermes. The detail I shot reflects the surface imperfections that have resulted in another intriguing visual layer to these works...you have to love the romantic nature of a ruin.

The back of the River God... I remember in art school how the professor went on a tear bout the level of finish the statues have considering they were to be viewed from from a great distance and the backs were never to be seen once installed on the pediment. I must say it is amazing to see in person. There was no need to finish the back of this figure so perfectly.

Backs of the other west pediment figures.

The "wet drapery" clad figures of Hestia, Dione and Aphrodite. The fabric defies logic but to perfection...at once so rippled and massed and yet sheer and clingy.

Last but not least the haunting head of the the horse Selene.

Photo of the Day

2011-09-25T15:53:00.001-07:00

I encountered this beauty at an exhibition in Paris. Any guesses?

This lacquer detail is derived from a chic little side cabinet designed by Paul Follot ca. 1920.

Detail

The cabinet came from a rare early 1920s home that was decorated by Follot from stem to stern. When I heard that it was stamped the connoisseur in me could not resist....I had to flip it over. With the number of deco fakes around it is always great to inspect a period stamp on a fully documented piece.

The cabinet in-situ ca. 1922 via Camard

The interior was published in Mobilier et Decoration in 1922. Note the cabinet is at the extreme right and that the piano at left has the same rose decoration. Follot is not an iconic name but he is rather important maker from the period when the early modernist movement transitioned into fully realized art deco.

Photo of the Day

2011-09-23T14:10:00.000-07:00

Now this one is a bit obscure, but I love it. Any takers?

UPDATE!

Any fans of the Tudors might have had an idea about this one. It is a circa 1500 English court collar chain.

Chains of this sort became popular in the English court starting in the 14th century and often carried a pendant that indicated a particular allegiance or membership. I first became interested in the S-linked chains when I first encountered Hans Holbein (the younger's) hauntingly realistic portrait of Sir Thomas Moore at the Frick Collection. View it in person if you can. It is amazing.

Hans Holbein, the younger, Portrait of Sir Thomas Moore via Google Art Project

Detail of Moore's Chain via Google Art Project

Photo of the Day

2011-09-22T18:28:00.000-07:00

Not such a severe crop on this one. Do you know where it is? I love stolen moments like this... the play of light...it really transports you.

UPDATE!

Well Lord Cowell nailed it (thanks for the comment). If you have not seen his lush blog you can find it here. It is indeed a detail from the corner of the Grand Salon in the Napoleon III Apartments in the Louvre.

My work trips usually leave me with downtime on odd weekdays. These are the best times to slip into venerable institutions to have a little quiet time in a great space. Below is a view a small reception off the main hall.

This was a great morning....good early spring light. The firm Virtual Sweden has done an excellent virtual tour of the Grand Salon, and while filled with people, it is truly amazing. Be sure to pan up to take in the ceiling...astounding. Until tomorrow. -AR

Photo of the day

2011-09-21T20:45:00.000-07:00

The blue is quite refreshing, no?

UPDATE!

This little blue lacquered lovely is one of a pair of two tole tulip jardinieres on display at the Musée Carnavalet in Paris.

Now these are unusual because of their jaunty blue ground. Typically tole items that is tarted up with Asian lacquer motifs opt for more somber earth tones overall. These examples date to the reign of Louis XV.

I would say that they are rather late Louis XV as they are starting to stiffen-up and embrace Neoclassicism (note the fluted pilaster corners).

Paris became quite the center for painted tole wares. The versatility of the medium allows it to quickly follow the shifts in fashion and these luxury goods stayed in demand from the 1740s well into the first half of the 19th century. However their utilitarian nature and the inherent conservation issues with metals make them a rather rare survival today.

You can see these lovelies, among other delicious objects within the Blue Salon from the hotel Brulart de Genlis reinstalled among the enfilade of period rooms at the Musée Carnavalet

Photo of the Day

2011-09-20T17:41:00.000-07:00

This one is a bit tough. It was new to me when I encountered it last winter. (Hint: I was in London)

UPDATE:

Ok, I admit this one is hard as it is a one of a kind departure for the artist. May I present the Melchett Fire Basket designed by British sculptor Charles Sargeant Jagger in 1930.

Jagger is better known for his war memorials but this work from the tail end of his life reflects his embracing of art deco. This unusual basket was part of a larger commission for Henry and Gwen Mond (later Lord and Lady Melchett) for the drawing room of "Mulberry House" their Edwin Lutyens designed home in Westminster.

Jagger's bas relief panel above the mantel is entitled "Scandal" and references the then shocking menage a trois arrangement the Monds and writer Gilbert Cannan had prior to their marriage. Read the entire story in Eric Turner's 2009 article in Apollo Magazine....it is fascinating.

The daring relief shows a pair of lovers naked and subject to the finger pointing and whispers of society gossip. The iconography of the fire basket had to be pointed out to me. I thought it was all about exoticism, sleek deco cats and cool stylized maidens. But it is meant to be a visual reminder of the two-faced nature and cattiness of society which often parrots idle gossip not thinking about its veracity or negative effects. Meow...I get it, and how clever indeed. The drawing room was designed by architect Darcy Braddell and had lavish silver leaf classical themed murals by Glen Philpot and green bronze doors.

The drawing room at Mulberry House ca. 1930. Photo: Country Life via the V&A

I must admit, while the English expressions of art deco are not as iconic as what emerged in France, this room got it right. Its cool classical sleekness predates what we now more popularly identify as "Hollywood Regency".

The drawing room at Mulberry House ca. 1930. Photo: Country Life via Apollo Magazine

Turner's article conveys that the interior was believed lost in the blitz in 1940. However, the fire basket emerged at Sotheby's in 2004 and "Scandal" surfaced in the Robin Roberts sale at Christie's in 2007. They were both secured by the Victoria & Albert Museum where they are finally reunited and on display.

Photo of the Day

2011-09-19T18:24:00.000-07:00

So here is the next installment. This one really caught my eye and made me fish out my camera like a tourist... so glad I did! AR

UPDATE: Well there were no takers on this one, but here you go. This is an un usual tile detail from the facade of a Parisian townhouse at 27 bis Quai Anatole France.

The structure was designed by Richard Bouwens van der Boije in 1905. It is a rather restrained version of art nouveau but the yellow tiles really pop. The round ceramic tiles of the facade were concieved as stylized flowers and are the handiwork of the formidable ceramicists Gentil et Bourdet. Bouwens went on to design the public rooms of the Normadie! You learn something new each and every day.

Photo of the Day

2011-09-18T18:30:00.000-07:00

In an effort to creep into your internet lives on a more regular basis I have opted to post design tid-bits from my back catalogue. I will still be bringing you more thoughtful posts but I hope these morsels will fill the void when I am otherwise engaged. Not sure how this will work, but comment if you wish, make a guess as to what it is and perhaps I will follow-up with insights. Best regards to all at the start of this new week...AR

Update: This repousse silver detail comes from a surprisingly factory made coffeepot.

It was designed by Fritz Schmoll von Eisenwerth in 1913 for the firm of P. Bruckmann & Sons of Heilbronn. Jugendstil designs such as these always remind me the German expression of art nouveau really had the jump on art deco by more than a decade. If you squint just right you would almost think it was by Sue et Mare.

Sue et Mare for Christofle circa 1930 via Christie's

While the flowers pack a visual punch, the handle is quite exquisite as well.

Hats: An Anthology by Steven Jones at the BGC

2011-09-15T14:14:00.000-07:00

Hello dear readers. I have neglected you due to a busy schedule with the opening of the art/auction season. Mea culpa, but I am coming up with a concept to give you a daily dose of AR. Details to follow. Now, last night I was able to tag along with a fashionista friend to the opening of "Hats: An Anthology by Steven Jones" within the galleries at the Bard Graduate Center in New York. The show itself is a well paired down version of the same show that took place at the Victoria & Albert Museum in the spring of 2009. I must say it was a rather lighthearted affair and pleasant change of pace for Bard as the general public is not always excited by Chinese enamel work or the exquisite craftsmanship of English embroidery, but I digress. The range is very broad based with surviving examples from as early as the 16th century and of course featuring many works by Steven Jones, why would it not!

As you very well know, I love a tiara and this work by Steven Jones proved to be no exception. This literal chandelier is entitled "Swing" and is from his 1997 collection. The play of surrealism mixed with traditional "bling" within the rest of the vignette was very well played indeed.

I also fell in love with the late 19th century French jet bead black tiara at the center, top, very Black Swan.

This vignette about the "hood" conjured up scenes from Wuthering Heights but the inclusion of a plastic dime-store rain bonnet kept things light.

The vitrine dedicated to geometry.

Another installation on the theme of "paper" as a millinery material.

Ah yes, and you cannot neglect the range of floral hats.

This eye-catcher made many people stop and look for explanatory wall text. My first thought was that it must be a London swinging 60s King's Road concoction. But alas I was dead wrong. This work is entitled "Mystere" was created by Steven Jones for Jean Paul Gaultier's 1984 Fall/Winter collection.

For me, it was some of the rare survivals that were slightly more thought provoking, especially this 17th century court jesters cap loaned by the Victoria & Albert Museum. It entered their collections in 1858 according to the text...perhaps it languished for a few centuries in the attic of a country house, stranger things have been known to happen in the world of art and antiques.

This color popped stunner looked very 1950s Dior "New Look" in inspiration, but alas it is the product of 18th century England. However, it does mesh with the 18th century enlightenment interest in the collector's cabinet and while it visually makes no sense I am sure it was prestigious to have so many exotic feathers all in one place. Much like the 18th century English specimen marble table below.

Photo via Christie's

While they emerged in different artistic spheres, the hat and the table both speak of empire and the domination of the natural world.

On a lighter note, when I approached this case I was delighted to see the iconic Dior 1997 haute couture photograph together with the actual African inspired carved limewood fedora. The hat (again) was created by Steven Jones and was graciously loaned by the Christian Dior Archives. I remember this image in fashion mags around 1997. The model wears many African inspired beadwork necklaces topped off by this hat in which Jones is clearly riffing on traditional Yoruba stool carvings.

Photo via Bonhams

It seems a rather strange marriage but it works brilliantly on many levels. Last but not least, there is a case dedicated to America featuring one of Warhol's toupees, a foam Statue of Liberty tourist crown and a cowboy hat stage worn by Madonna. All very interesting, but for me, I was most captivated by the Halston white mink bunny mask worn by Candice Bergen at Truman Capote's legendary Black and White Ball in 1966.

Surprisingly enough it was loaned from the collection of The Museum of the City of New York having been given by Bergdorf Goodman in 1967. It makes me think that Candi had the mask as a loaner for the night. In any regard she did look smashing with it in her ingenue days.

Photo: Elliott Erwitt via Christie's

For the sake of economy I omitted many other compelling pieces so you must see the show which is open now through April 15th, 2012. If you will not find yourself in New York during this period there is a great exhibition catalogue available. Until next time... AR.

Objects of Desire: The Portland Font

2011-09-04T19:55:00.000-07:00

On my last trip to London I went with a former colleague to the British Museum. Now I must admit, I had not tooled through its venerable galleries for the better part of a decade so it was more of a discovery day rather than checking in on "old friends". As I made my way through the decorative arts I was stopped in my tracks by this captivating object. I present The Portland Font:

This privately commissioned baptismal font was created in 1796 at the request of William Bentinck, the third duke of Portland on birth of his first grandson. The font was designed by noted landscape architect, Humphry Repton, and executed by Paul Storr (undeniably England's best goldsmith of the period). The distinctly neoclassical work is comprised of a detachable bowl resting on four winged-cherub bust feet on a rectangular plateau.

The font itself is surrounded by figures of the three theological virtues: Faith, Hope and Charity.

Detail of Charity caring for children.

Detail of Hope with her anchor as derived from Hebrew's 3:19 "We have this hope as an anchor for the soul, firm and secure."

Detail of the rather ominous figure of Faith bearing her cross and an outstretched hand raised in benediction over the mouth of the bowl.

The work itself is crafted out of 223 ounces of 22k gold which is astounding in itself but I was further impressed by the fact that it remained within the collections of the Dukes of Portland until it was purchased by the museum in 1986. The virtuosity of the work is borne out through the clever array of surface finishes. The smooth skin and surface of the plateau are planished and burnished to a lustrous shine whereas the drapery is carefully chased and stippled to give the appearance of fabric.

This attention to the play of textures is also seen in the rendering of the hair and fine facial details.

Perish the thought, but in this super heated market for precious metals the melt value of this tour de force would be in the neighborhood of $385,000 but thankfully the skill of Paul Storr and the rarity of his monumental works would save comparable examples from the smelter...even in the worst of economies.

Photo via Christie's
Case in point the "Maitland Centerpiece" crafted by Storr in 1814 for Sir Thomas Maitland and while it is merely silver-gilt and not solid gold it commanded a resounding $518,500 when it sold at Christie's New York in October of 2009. Thankfully the "Portland Font" is safely in institutional hands at the British Museum.

Holy Odin! Viking Revival Furniture?

2011-08-06T09:28:00.000-07:00

In previous posts you have heard me bemoan the fact that once you really feel you know a subject you encounter something that makes you inspired and shocked at the same time. Now, 700 years ago when I was in graduate school I was fascinated by the revival styles of the 19th century. Most who have spent any time studying this "Romantic" period from the 1830s-1900 are well aware of the usual suspects: gothic revival, rococo revival, greek revival, renaissance revival etc. They dominated the decorative vocabulary of the period until they were decried by the Arts and Crafts movement and supplanted by Art Nouveau and the proto-modernism of the Secessionist Movement but I digress. It was on a recent business trip to Paris that I was re-acquainted with the unusual revival subset: Viking/Celtic revival. Enter the Musee d'Orsay's very recent acquisition (2010): a monumental stained oak armchair by Tiffany Studios.

Detail

Now this particular model with its strapwork embossed leather and similarly carved oak was not such a surprise as I had seen it at auction once before... which begs the question... might they be one in the same?

Photo via Sotheby's

Detail, Photo via Sotheby's

This second example was offered at Sotheby's New York in June of 2008 but failed to sell at the hefty estimate of $180,000-240,000. Who knows if there was embossed leather lurking under that shabby later velvet upholstery. When this chair was up at auction the catalogue drew comparisons to another Tiffany commission, the well known Havemeyer home at 1 East 66th Street... more specifically the Rembrandt Room. Thankfully a chair from this long demolished somber study is preserved in the collections of the Metropolitan Museum of Art.

Photo via Metmuseum.org

As you can see they only vary in minor ways. The carvings are both derived from Scandinavian/Celtic ship carvings and metalwork. This nautical connection reminded me of Tiffany's earlier work at the 7th Regiment Armory on Park Avenue. Specifically the carved dado, ceiling and friezes of the Veteran's Room.

Photo via The Classicist Blog

This viking iconography fits within the realm of a military setting but one would have to think that in the domestic sphere it was just one of many exotic styles at Tiffany's disposal. Later on my trip I made my way to London and spent an afternoon at the Victoria & Albert Museum and was stunned to find yet another example of the viking revival style. Enter Norwegian designer Lars Kinsarvik's armchair presented at the 1900 Exposition Universelle in Paris.

Detail

Detail, Photo via Vam.ac.uk

In reading the cataloging for this piece it became clear that this example was less about romanticism but more about nationalistic pride. At this point Norway was still under Swedish control and the designer was clearly looking at recent archaeological discoveries of Viking vessels for his decorative motifs. The chair supports are derived from anthropomorphic ship prows. The museum's research goes on to state that Norway insisted on having its own pavilion at the fair separate from that of Sweden. Thankfully Norway would have its independence some five years later. So within context this example is less quirky when understood as a nation's rallying cry. If any readers have other examples of this decorative subset I would be more than intrigued to see them!

Zara Phillips: Another Tale of Tiaras

2011-07-29T17:36:00.000-07:00

I do apologize for my month long absence. I was under the mistaken conclusion that my schedule would miraculously clear once the auction season drew to a close but alas I have been busier than ever....neglecting you kind readers. I am currently on the road but had to stop to post about Zara Phillips' wedding that is taking place tomorrow! Miss Phillips is Queen Elizabeth II's eldest granddaughter and the only daughter of Princess Anne and Captain Mark Phillips. Zara's impending nuptials have been referred to as "the other Royal wedding" after the global phenomenon that was William and Catherine's ceremony on April 29th. I would expect that Zara's wedding to rugby player Mark Tindall should be a low-key affair. Princess Anne's desire for privacy was definitely passed on to her similarly athletic daughter. Mark Phillips never accepted a title from the Queen and it is reported that Princess Anne refused honorary titles for for her children so they could have a more normal life away from public scrutiny. Thus Zara and her brother Peter are the Queen's only grandchildren without titles. This apparent informality is most evidenced by the happy couple's engagement photo.

With this level of comfort one wonders if the sporty Zara will opt for a tiara at all. I for one hope she does. She will likely not have as many options open to her as Kate but below find my short list of the strong contenders:

1. Princess Anne's Festoon Tiara

This could very well be the likely bet as is a romantic and low profile belle epoch stunner. The tiara is the personal property of Princess Anne so the loan would be quite simple. It was presented to Princess Anne by the World Wide Shipping Group in 1973, the year of her marriage. My only caveat would be that Princess Anne already loaned the festoon to her son Peter's bride, Autumn Kelly, on the event of their marriage in May of 2008. Since that was in the fairly recent past and was highly publicized I do hope she opts for another piece....but I digress.

2. Princess Andrew of Greece's Meander Tiara

This classically inspired bandeau tiara is also the personal property of Princess Anne making Zara's access as easy as the festoon. The overall look is a bit severe but Anne has carried it off successfully throughout the years. The tiara was a wedding present from Prince Phillip's mother, Princess Andrew of Greece and Denmark, to the future Queen Elizabeth II. And while the Greek key and palmette motifs are a distinct nod to Prince Phillip's Hellenic line, the Queen never wore it publicly. It was subsequently given to Princess Anne in 1972, a year prior to her engagement and subsequent marriage. Other royal watcher's feel that this would be a great choice, steeped in family history but I am not so convinced due to its stark geometry. It may however be the default since the festoon was so recently trotted out at a royal wedding.

3. Fringe Tiara

Historically this would be a strong choice. It was created in 1919 using diamonds that had been part of a tiara/necklace given by Queen Victoria to Queen Mary on the occasion of her marriage in 1893. Queen Mary gave it to the Queen Mother when she ascended the throne in 1937. The Queen Mother lent it to both her daughter Princess Elizabeth and granddaughter Princess Anne on their respective wedding days. It may be a bit severe in design but it is definitely no stranger to a royal wedding. For me, it would be very fitting Zara to wear her mother's and grandmother's wedding tiara but as you can tell I have a flair for nostalgia. This would however require a loan from the Queen which shouldn't be out of the question as she most recently loaned Catherine the Cartier Halo Tiara for her wedding to Prince William.

Queen Elizabeth II and Princess Anne wearing the Fringe on their respective wedding days.

As the big day is tomorrow we have precious little time to make broader guesses. If you wish to torture yourself you can always refer to Catherine's tiara list that I obsessed over for countless months. The couple is wedding at Canongate Kirk in Edinburgh but the event will not be televised so we will have to wait for the stills to hit the internet. I wait with baited breath!

UPDATE:
Well the big event has come and gone and as I suspected Zara wore option 2, the Meander tiara. While it is a bit stiff she wore it well and the overall look was beautiful.

Unusual Tiffany Clock Sells at Bonhams

2011-06-18T02:46:00.000-07:00

Despite a few bright spots, for the most part the June design auctions were a pretty standard affair. Bonhams however presented a delightfully odd yet art historically interesting clock. I have gushed in the past about Tiffany Studios lamps and glass but I have also tried to enlighten my readers on the less commercially popular areas of the firm's production. I present this unique Tiffany & Co. carved mahogany and enameled hall clock.

Now I admit it is a bit quirky but it was produced in 1887 so the decorative vocabulary is straddling a ménage à trois of aesthetic movement, beaux arts and budding art nouveau sensibilities. While it wouldn't qualify as a "hot mess" in todays terms, it definitely has a lot going on. This is understandable as it was made to be a tour de force showpiece likely destined for a world exposition. While people are very familiar with the glass production, most are not aware that Tiffany Studios had a substantial furniture workshop and an enameling division...both seen at work on this piece.

The teardrop face is exquisitely enameled and the resulting design falls somewhere between Anglo-Japanese and art nouveau and as the lot footnote indicates it was likely the handiwork of Paulding Farnham, Tiffany's design director who had a keen interest in the firm's enamel workshop.

The waves and cascades of the case are virtuosic and are only limited by the constraints of the rather traditional silhouette of a conventional tall-case clock. While it is not everyone's taste it achieved $91,500 blasting past its pre-sale estimate of $25,000-35,000. The bold price comes down to rarity...where else are you going to find a Tiffany clock of this stature? But if you are interested in Tiffany Studios furniture pieces, they can be had at more modest levels.

This rather traditional gate-leg table was produced in the heyday of Tiffany Studios and can be purchased from M. S. Rau Antiques for the asking price of $29,850. But don't fret dear readers if you watch the auctions models such as these appear at more realistic estimates of $2000-3000.

Detail of the Tiffany brand.

This finely carved Queen Anne style stunner was sold at Burchard Galleries last fall for a reasonable $400.

Detail of brand.

This pair of baroque style hall chairs surfaced at Rago Arts and Auction Center in the summer of 2005 and brought a tidy $4250 against a $5000-7000 estimate. They are similarly branded as the others.

This Italian rococo style console table forms part of an extensive Tiffany Studios "Royal Venetian" bedroom suite that Bonhams offered in the summer of 2010 at an estimate of $10,000-15,000 but it failed to find a buyer... perhaps it was too much of a "look" but lets not digress.

This Tiffany Studios mahogany what-not was sold by Treadway Gallery in December of 2007 for $2500. As you can see, when it comes to Tiffany there is something at every level spanning a broad range of tastes.

Madonna Wears the Duchess of Windsor's Cartier Bracelet?

2011-06-05T16:05:00.000-07:00

Just a quick post. I must say with all the advising at the end of the auction season I can barely keep up with current events. If it were not for dinner parties I don't think I would ever get a sufficient dose of pop culture. For it was a dear friend that gave me this little tidbit over the weekend. It appears that when Madonna paid tribute to Oprah Winfrey last month she may have been wearing the Duchess of Windsor's storied Cartier cross bracelet.

The images from the March 17th taping are compelling especially given her directorial debut in the forthcoming W.E. a modern retelling of the love affair between the Duke and Duchess of Windsor. Madonna has a very soft spot for American divorcee Wallis Simpson, obviously as they are both women of style who courted controversy throughout their lives and both very similarly obsessed with crafting their public image.

Detail of engravings.

The fantastic jewel sold last fall at Sotheby's London for £601,250 and was a very personal piece for the Duchess, comprised of eight gem set crosses (one platinum) on a platinum and diamond bracelet. Each cross was engraved with a special date in the life of the couple and it was worn on their wedding day... the beginning of their luxurious life in exile.

Madonna was rumored to have purchased the Duchess' Cartier Panther bracelet that fetched £4.5 million but it has yet to surface publicly so it is anyone's guess. The cross bracelet is a far better fit as it was much more personal to the couple marking their romance over the years and it seamlessly meshes with Madonna's ever evolving crucifix laden personal style. Until Madonna confirms, we are left to wait...perhaps only until the film's premiere at the Venice Film Festival at the end of August.

Drian "Jazz" Screen at Christie's

2011-05-23T19:33:00.000-07:00

I have spent the past few days pouring over the June design sales and I was delighted to see that another "old friend" has emerged on the auction block. Now this is not something I have personally handled before but it is an object of great reputation and I am delighted that I will be able to see it in the flesh very soon. I present you with the "Jazz" screen comprised of reverse painted mirror panels by French artist Etienne Drian, currently on the block at Christie's.
For those not in the know, Drian was born Etienne Adrien in 1890 in Bugneville, France and emerged as one of the preeminent fashion illustrators of the dress reform era. It was later in the 1920s and 30s that he expanded his repertoire to include portraiture, murals and decorative arts.

This image shows Drian in his studio circa 1930 with American actress Gilda Gray who popularized the "Shimmy" dance craze. Note the mirrored screen panels in the background awaiting completion. The "Jazz"screen originally decorated the music room of Mrs. Bradford Norman's apartment at the fabled River House which was published in Arts & Decoration (May 1933).

As you can see the screen held court along one wall and and provided an important backdrop for Mrs. Norman's concerts. The image below from Vogue (October 1933) shows the screen again as Mrs. Norman plays for Mrs. Averell Harriman, Mr. Edward McIlvan Jr. and Mr. John Kennedy.

As you follow the Christie's provenance for the screen the next time it emerges is in the collection of New York fashion designer John Moore. Fortunately it was photographed in his apartment for a Life magazine piece in May of 1963.

It seems that Mr. Moore used the screen in much the same manner as Mrs. Norman, an elegant backdrop amidst a sea of cream tones, zebra hide and a lacquered piano. The screen then passed to New York antiques dealer/designer Christopher Chodoff and was photographed in his home for Architectural Digest (May/June 1977).

Mr. Chodoff's 1990 obituary noted that his antiques business opened in Manhattan in the early 1950s and that he was one of the first dealers to introduce modernist masterworks by Eileen Gray, Diego Giacometti and Jean-Michael Frank to an unsuspecting post-war American clientele. His companion at the time of his death was noted as a Mr. Maury Green and it is likely that the screen remained with him until now.

While the provenance is listed with confidence the lot essay backs away from it slightly noting that it was "likely from the New York apartment of Mrs. Bradford Norman" which is slightly annoying as it was definitely hers. There was possibly some reason for concern as the "Jazz" screen has a slightly more famous sister (below) that was executed for the ballroom/theatre of the Maharaja of Indore's art deco Manik Bagh palace. Images of the two have been interchanged for years but they vary slightly in the fine details. If you study them closely you can sort it out.

Indore "Jazz" Screen

(L) Norman "Jazz" Screen,detail (R)Indore "Jazz" Screen,detail

As you can see from the details above the join cuts through the tuba player's arm in two distinctly different places. The example at Christie's is definitely the "Jazz" screen from Mrs. Norman's apartment... no question about it. What has always struck me about the band depicted in the screen is that the players are highly individualized and not the typical exotic derogatory stereotypes of the Jazz Age. I always felt that the figures had to be based on real people and thankfully the experts at Christie's were able to unravel part of the mystery.

It appears that the drummer in the screen is directly copied from a Berenice Abbot photograph of jazz musician Buddy Gilmore. After World War I, Gilmore played the capitals of Europe and had lengthy stints at Parisian venues such as La Revue Négre. It seems fairly evident that Drian collected and composited a number of jazz musician portraits for his finished work. Further research will need to be done identify the rest of the players... perhaps for another post!

On a side note, it appears that Mrs. Bradford Norman was not the only Drian client at the River House, enter British lumber heiress Audrey Evelyn James... (if you are not familiar with the River House apartments please read Michael Henry Adams' series for the Huffington Post). The vivacious Audrey James was one of the "bright young things" in London society and was a favorite of the Prince of Wales. It was during her second marriage to department store magnate Marshall Field III that she resided at the River House and was published in Vogue (April 1934) with her Drian portrait screen as a backdrop.

Her screen traveled to London after her divorce from Field and it was photographed by Country Life at her residence "The Holme" in Regent's Park around 1938.

Luckily for us this art deco stunner survived and was sold at Christie's from the Estate of fashion PR legend Eleanor Lambert in 2004.

I remember seeing it at the sale preview and it was quite distressed but it still achieved nearly $22,000. But this lovely screen was not Mrs. Field's only Drian commission. It seems that she also hired Drian in 1932 to spruce-up her River House dining room with mirror murals much like the London music room of her friend Sir Philip Sassoon. Unfortunately no image survives but we know from the period press that the "mirrors are painted [with] the most wondrous collection of our feathered friends." It leaves the imagination to wonder....but fortunately for us this was an oft repeated Drian theme.

I present the mirrored dining room that Drian executed for couturier Edward Molyneux. This gives us a pretty clear indication of how the Field's dining room likely appeared. While ephemeral, some of Drian's murals were carefully dismantled and sold at auction so we thankfully have a sense of what they were like in person.

These are two of eighteen panels from the entrance foyer of Mrs. Randolph Hearst's residence at 300 Park Avenue executed by Drian between 1927-1928. Screens are easier to sell than sections of interior elements, Sotheby's sold this group in 2004 for a dismal $2700. What a steal! Even rarer are Drian's smaller decorative works...

This unusual pair of Drian side tables were sold by Sotheby's from the collection of Karl Lagerfeld for a whopping €33,275. While rare, this model is by no means unique as evidenced by this example presently for sale at the New York gallery of Alan Moss.

I seem to remember that dear Alan had a pair, perhaps one was sold...but I digress. If you are interested you can purchase it here.

This unusual cabinet mounted with Drian panels surfaced at Tajan Paris in 2007 and despite its rather clunky presence it achieved €33,458. If you missed it, do not worry, it is now in the capable hands of Parisian art deco expert Felix Marcilhac and can be purchased here.

Last but not least is this lovely still life/mirror from the estate of fashion designer Bill Blass. These surface from time to time and can usually be had at auction for less than $5000 depending on their size. But it was likely the Blass provenance that led this example to sell for nearly $7000 at Sotheby's in 2005.

I did not intend for this post to be so encompassing but Drian is close to my heart. The "Jazz" screen will hit the block at Christie's on June 16th at an estimate of $100,000-150,000. We shall see how it goes, that price seems a bit steep given the form and its fragility. If it is an amazing success I am sure we will see the other "Jazz" screen re-emerge within short order. Until then dear readers...we wait.

UPDATE: The screen sold this morning just within estimate at $110,500. I was a bit concerned it would not after I saw the piece in person as the condition was rather rough, finely painted but flaking and distressed. Expect to see other Drian pieces come out of the woodwork....one success tends to beget speculation in the art market.

Royal Tiara On The Block At Sotheby's

2011-05-13T18:43:00.000-07:00

I spent the latter part of the afternoon scouring the major auction house websites to find the highly anticipated June design sales. Unfortunately they will not drop until next week, but my inquiries did not leave me empty handed. Thankfully, it was on Sotheby's main page I came across this lovely emerald laden stunner.

I must admit I was hesitant to write about another royal jewel so quickly after my coverage of the recent royal wedding. But I figured you may be up for a bit of sparkle this weekend. Sotheby's describes this aristocratic diadem as "A Magnificent and Rare Emerald and Diamond Tiara, Formerly in the Collection of Princess Katharina Henckel Von Donnersmarck, Circa 1900." The base of the tiara is of a lovely foliate design and par four the course as far as high-end Belle Epoque jewels go. However, it is the approximately 500 carats of polished emeralds comprising 11 pear shaped spikes that set it apart from the pack.

The catalogue goes to great, yet measured, lengths to assert that the emeralds

probably/ possibly/ perchance belonged to Empress Eugenie of France from a group of 25 such polished emerald drops sold from her personal collection in 1872. Historical layering such as this adds to the mystique and hopefully the end result but I am a stickler for hard facts and always find it a bit too fluffy when dealing with a masterwork that can really sand on its own, but hey that's just me. What is certain is that the emeralds are of Colombian origin and are polished in the Indian tradition, likely in the 17th or 18th century. While the overall effect is striking I have always found the mixing of globular cabochon stones and brilliant cut diamonds to be a tricky affair....lest they look like shiny gum balls wed to a refined base. The present lot is just on the cusp of looking top-heavy, but only just. Queen Elizabeth's Grand Duchess Vladimir tiara utilizing the Cambridge emeralds is a bit more successful but who is counting really....well I guess I am since it is one of my favorites from her collection.

Queen Elizabeth's Grand Duchess Vladimir Tiara

The catalogue also asserts that the tiara is (yet again) "possibly" the most important to appear at auction in 30 years (since it was last sold by the heirs of Princess Katharina Henckel Von Donnersmarck via Sotheby's Zurich in 1979). This glosses over Christie's great success selling the fabled Portland tiara just last December and the Poltimore tiara that they sold from the Estate of Princess Margaret in 2006.

The Poltimore Tiara Sold Christie's 13 June 2006 ($1,7o4,576)

The Portland Tiara Sold Christie's 1 December 2010 ($1,188,239)

Granted, the Donnersmarck tiara with its 11 large emeralds may pack more of a punch in intrinsic value, but the importance of the provenance is debatable when compared to the Portland or the Poltimore. That said, I wish Sotheby's well as the estimate range is a stellar $5.3-10.6 million. We will have to wait until next week to see where it ultimately lands. I leave you with this press image which gives you a better sense of the tiara's scale and the greater distance obscures the natural imperfections in the in the emeralds which can be distracting when viewed too closely.

UPDATE: The tiara sold on May 17th for an astounding $12.7 million becoming the most expensive tiara ever sold...

McQueen Savage Beauty Exhibition

2011-05-09T20:58:00.000-07:00

Well, dear readers I have at long last made the trip to the Metropolitan Museum of Art to view the McQueen retrospective Savage Beauty now up through July 31st. I must say, crowd control aside, it was captivating to say the very least. The rooms were set-up by themes and contrasted starkly with one another between sheer opulence and stark materials.

For months we have been bombarded with the show stoppers....the McQueen avant garde creations that really pushed the envelope. I too was guilty of that in my previous posts. But it was in some of the restrained galleries that one could have a quiet moment to take in a work and see the nuanced genius of the man. You could sense that while McQueen had a penchant for fantasy and the macabre he was at the very core a craftsman (trained as a tailor) and was well versed in the history of art. Don't get me wrong, I love his darker moods, flirting with fetish and the Gothic...who doesn't like a good Poe or Fonthill Abbey reference...but I digress.

In the first gallery, dedicated to McQueen's tailoring roots entitled The Romantic Mind, you are confronted by these re-invisioned Napoleonic jackets. The text provided made it crystal clear that it was his deep knowledge of construction that allowed him to later deconstruct and reinterpret forms and silhouettes. But it was in the Romantic Nationalism gallery that I was stopped dead in my tracks by this gown...

This Empire infused confection was a highlight of the Fall/Winter 2008 collection entitled The Girl Who Lived In The Tree. While McQueen is quoted as saying "I don't really get inspired [by specific women]" but more by "Iconic women" his references from this period in history are evident.

Madame Recamier by Francois Pascal Simon Gerard

Madame Grassini in the Role of Zaire by Elizabeth Vigee-Lebrun

Portrait of Madame de Stael by Anne-Louise Girodet de Roucy-Triosson

The Grande Odalisque by Jean Auguste Dominique Ingres

Details of the ensemble from the Fall/Winter 2008 collection

It was definitely one of those moments where something modern can transport you in a flash to an age of Empires, Orientalism, conquest and romance. I could do fifty related posts on the exhibition as it is a veritable feast. While the exhibition catalogue is good it does not contain all the works in the show and cannot capture the lushness of the installation. We are sad to see McQueen go but he has left his mark with an astonishing fashion legacy.

Catherine Middleton Wears the Halo/Scroll Tiara!

2011-04-29T04:32:00.000-07:00

Well at long last dear readers we are here. Catherine and William are married and we finally know all the details as they were revealed before our eyes. Sarah Burton for Alexander McQueen designed the gown which took a page right out of Grace Kelly's playbook. Well played Miss Middleton... now the Duchess of Cambridge. The tiara she wore was one of my personal favorites from the list of contenders. We knew it as the "Scroll" tiara, but the palace has confirmed that it is actually known to the British Royal Family as the Cartier Halo tiara. We now know that the tiara was purchased by the Duke of York (King George VI) for the Duchess of York (the Queen Mother) in 1936. It is a rolling cascade of scrolls that converge in a central ornament surmounted by a brilliant diamond. We now know that the tiara was given to Queen Elizabeth II for her eighteenth birthday and she has subsequently loaned it to both her sister Princess Margaret and her daughter Princess Anne.

Image of the Halo from the Cartier Archives

The Halo tiara is a youthful feminine tiara with absolutely zero severity. The paisley like scrolls picked-up the lace details of her dress. An absolutely perfect choice.

Detail with gauzy veil in play, perfection!

The Queen Mother wearing the the Halo tiara with King George VI.

Collage of pictures of the stunning Princess Margaret wearing the Halo to various engagements in the 1950s.

Collage of pictures of Princess Anne wearing the Halo to state events in the 1960s/early 1970s.

Jacques Doucet's Studio St. James at Neuilly-sur-Seine

2011-04-14T21:12:00.000-07:00

If you don't know by now, I am more than a little obsessed with research. In fact, it often drives me to distraction but it comes with the territory working in the "art biz". I especially love to learn all I can about places that no longer exist. Gazing deep into a period photo or painting and absorbing the details of how the room was decorated and used...especially if it is filled with treasures. Wondering what all the objects are and where on earth they are now... or if they even survive at all. Enter couturier Jacques Doucet's Studio St. James at Neuilly-sur-Seine. Jacques Doucet was famous as a fashion label but the man himself was a voracious collector. In 1912, at the age of nearly 60 he sold his conventional collection of French antiques and fine arts and embraced the avant-garde to an astounding degree.

This lush corner of the grand salon from the Studio is a feast for the eyes and I have taken the liberty of pointing out a few masterworks:

Tucked into the corner was this exotic ebony cartonnier by Pierre Legrain with lacquer panels executed by Edouard Degaine. It was created around 1925 and presently resides in the permanent collection of the Musée des Arts Décoratifs in Paris.

This unusual lacquer "Bilboquet" table sat adjacent to the sofa and is an extremely rare early work by Eileen Gray before she fully embraced modernism. It dates to circa 1915 and presently resides in a private collection.

This late Amedeo Modigliani masterwork hung on the far wall and is entitled "The Pink Blouse". It was painted in 1919 and is currently housed in the Musée Angladon.

This early cubist delight hung just above the Legrain cabinet. It is entitled "Man with a Guitar" by Pablo Picasso and was painted in the south of France in the fall of 1912. It now forms part of the permanent collection of the Philadelphia Museum of Art.

This haunting work titled "The Snake Charmer" is a large masterwork executed by French primitive painter Henri Rousseau in 1907. It now hangs in the Musée d'Orsay in Paris.

This exoticist sofa dominated the room and was created by Marcel Coard around 1927. It is cleverly carved in rosewood to resemble rattan and is further embellished with ivory. It is a perfect counterpoint the African influenced works by Legrain that were scattered throughout the home. The sofa was given to the Virginia Museum of Fine Arts in Richmond in 1985.

This almost cubistic carpet sat in front of the Coard Sofa and is a work by Pierre Legrain executed in 1924. It surfaced last month at the Chateau de Gourdon Sale at Christie's Paris and fetched €325,000.

Nestled in the center of Doucet's "Oriental Cabinet" was this chinese/egyptian inspired "Lotus" table executed by Eileen Gray in 1915. It has been widely published but yet resides within a private collection.

If the previous treasures were not enough, Picasso's iconic "Les Demoiselles d'Avignon" of 1907 held pride of place at the top of the Studio's stair landing. The painting now hangs in the Museum of Modern Art in New York.

This is another view of the long living room within the Studio and perfectly illustrates how black and white photography denies the modern eye the true vibrancy of a period interior. Thankfully we know the whereabouts of many of the works seen above.

This "African" chair was created by Pierre Legrain in 1924 and can be viewed today at the Musée des Arts Décoratifs in Paris.

This rare green lacquer and eggshell encrusted side cabinet anchored the large wall at the left of the image. It was created by Paul-Louis Mergier around 1928 and is now part of the permanent collection of Musée des Arts Décoratifs in Paris.

Placed just above the Mergier cabinet was Henri Matisse's "Goldfish and Palette" painted in the fall of 1914. It can be viewed today at the Museum of Modern Art in New York.

Visible in the foreground of the image is yet another African influenced work. This time it is an eggshell lacquered side table based on stool form. It was executed by Pierre Legrain in 1923 and is now at Musée des Arts Décoratifs in Paris.

This monumental rosewood and python skin veneered bureau is just visible in the background of the image. It was created by Marcel Coard around 1925 and once again it can be found today at the Musée des Arts Décoratifs in Paris.

Doucet's eye was amazing to say the very least and collections of this level are rarely seen today. We can at least console ourselves with these lush images and dream of what it was like to be surrounded by such masterworks all under one roof.

Update!

In researching another lacquer topic I stumbled across another piece from the studio that has survived to this day. First things first, here is a period image of the Doucet Studio's foyer.

Like many important pieces from the period, this table has passed through the hands of Galerie Vallois in Paris.

This image appears to be from the 1980s or 1990s and it has not surfaced in some time so it is likely resting in a private collection.

The table is a real oddity, but in the best sense. It is vaguely Chinese in form but the charioteers that emerge from the legs are right out of classical antiquity. Hopefully more pieces will emerge--AR.

Roupell Street Revisted

2011-04-08T20:51:00.000-07:00

I know dear readers that I owe you a recap on the Chateau de Gourdon sale, but the sale with its ups and downs has left me a bit cold for the moment. Not to worry kids... I don't think it is terminal. After a long week of advising and with winter still refusing to release its icy grip on the city my mind drifts to a pleasant discovery on my recent trip to London... Roupell Street. I was there two weeks ago and was blessed with almost spring-like weather. An old friend insisted we walk along the Thames on our way to the Tate Modern. It was on this stroll from Waterloo Station that I happened upon the charming houses of Roupell Street with their irreverently colorful doors.

The street and the surrounding blocks were developed in the 1820s by gold refiner John Palmer Roupell as affordable housing for artisan workers. The block is charming in an almost Dickensian sense but a feeling of baroque surprise came with the passage of every smartly appointed door.

Do go the next time you are in London it is guaranteed to put a spring in your step before you confront the towering monolith that is the Tate.

Chateau de Gourdon

2011-03-26T17:53:00.000-07:00

For those of you that follow me on Facebook and Twitter you know that I am in Paris checking out the design sales/fairs... the most important being the collection of French billionaire Laurent Nego: Chateau de Gourdon at Christie's. I have been to the exhibition twice and plan to go once more before the sale next week. It is encyclopedic to say the least with many rare and oft unique pieces by Pierre Legrain, Eileen Gray, Ruhlmann, Jean Dunand, Rene Herbst.... you get the picture. The quality and volume are astounding and while I pride myself on offering you a balanced mix of art history, market analysis and a dash of snark I leave you with "design porn" from the exhibition at the Palais de Tokyo. If you are in paris this weekend you must go. Longer post to follow after the sale.

-AR

Animal: Musée des Arts Décoratifs

2011-03-18T07:44:00.000-07:00

I awoke this morning to look at some old "furniture friends" at the Musée des Arts Décoratifs in Paris. After winding through the menagerie of renaissance through art deco masterworks I stumbled upon their latest theme exhibition celebrating how man has utilized the animal in form or as material across a wide range of disciplines. Here are some highlights that made me crazy...in the best sense of course.

This polo shirt by designed by the Campana brothers for Lacoste in 2009 was quite wild. Not as wild as one of their stuffed animal chairs but playful nonetheless. It is literally alligator logos stitched together which gives the appearance of a rather pop culture play on lace...you would have to have it lined for sake of function, lest what is meant to be private becomes public.

Now I know giraffes are sweet and majestic with those long bashful eyelashes... but this giraffe fur coat from the Guy Laroche Fall/Winter 1965-66 is sublime. The graphic pattern of the hide is a happy marriage with the mod fashion period.

This imposing display dedicated to birds is fronted by an amazing peacock gate by wrought iron master Jean Perot.

I was completely unfamiliar with French designer Bernard Rancillac or his "Elephant Chair" of 1967. The wall decals by Studio Job and Adrien Gardere are inspired as is the stretched "Whippet Bench" by Radi Designers of 1998.

Oh La La La Lalanne! I have waxed poetic about the Lalannes in the past and it was great at long last to be confronted by their "Rhinoceros Desk" of 1966. One never gets past the scale of these pieces.

Now if you have been following this blog you know my deep love for the works of Armand Albert Rateau. While cast in bronze the delicate deer give it a lightness and almost surreal quality. One of my absolute faves!

A vignette dedicated to animals as symbols of power. Not sure how I feel about Niki de Saint-Phalle's "Pouf Serpent Noir" in such close proximity to Abbot Suger's famous eagle vase or the gothic revival lectern... oh well.

This display of 17th and 18th century furniture feet juxtaposed with "hoof" inspired modern shoes was beyond clever and made me take pause. Well played.

This 19th century Chinese kingfisher feather work headdress was amazing and vibrant. I have never seen one in such good repair and embellished to this degree. Since they are not entirely blue one wonders how many poor little kingfishers were needed to complete this piece.

Now I have long been aware of the shagreen covered geometric lamps and boxes created by Clement Rousseau but I have never seen a clock. Who knew this form existed but I am so glad it does.

Very skillful use of contrasting shagreen tints to further heighten the faceted surface.

I leave you with this image. Only the Musée des Arts Décoratifs would have an 18th century woven silk coat for a pet monkey. The only thing that I can imagine is that it clearly did not get much use. This is merely a sampling, you must see the show before it closes at the end of November 2011.

Paris by day, Paris by night...

2011-03-17T22:00:00.000-07:00

View from the white room of the Maison Blanche Restaurant, 15 Avenue Montagne

Just a quick note this time. After a few weeks of frantic advising I am in Paris for two weeks for some much needed R&R and to take-in the 20th century design sales. I will naturally keep you updated with my discoveries. More to come...

-AR

Eiffel tower from the roof of the Grand Palais Photo: guigui @Boreally.org

"Antiques & Art At the Armory"

2011-03-10T11:29:00.000-08:00

Last night I attended the the opening reception for "The Antiques & Art at the Armory" show. The Winter Antiques Show it is not, but I was quite impressed with the array of goods and dealers. As you enter you are confronted by the whimsical and infinitely stylish vignettes created by Newel Gallery.

The installations tended to be more editorial than sale-friendly but it gives you a strong impression of the eclectic mix Newel has to offer. In the booth of The Silver Fund I was captivated by a rather large dinanderie vase by art deco master Jean Dunand.

Only a precious few pieces of this scale come-up at auction each season but not always with this level of decoration. At $95,000 it seems almost a steal. Over in the booth of Gallery 47 was a veritable menagerie of vintage perfume bottles and packaging. Most are a bit too frilly for my taste but I found myself drawn to two Egyptian revival scent bottles.

Again, some will fault my taste for the macabre but i think they are great (even the striking serpent bottle in the foreground). I have often thought that "modern alchemist" Douglas Little should create perfumes or room fragrances packaged in casts of bottles such as these. They truly capture the western fascination with "Old King Tut". They are quite a folly and one wonders what the fragrances were like...but I digress.

On the way out I wound through the booth of Tiffany veteran Ophir Gallery. The lamps were quite nice but I was captivated by their array of Tiffany Studios glass. They had examples of every major technique aquamarine, cypriote, floriform, cameo and agate glass.

This particular example of agate glass caught my eye. It is astounding that glass could be internally decorated and then cut to perfectly mimic stone to a heightened and other worldly effect. The show is open through the 13th and I highly recommend that you check out their compelling lecture series.

Van Cleef & Arpels: Set In Style

2011-03-03T14:32:00.000-08:00

Yesterday I found myself between appointments deep in the heart of New York's museum mile and opted to kill time at the Van Cleef & Arpels "Set in Style" exhibition at the Cooper-Hewitt, National Design Museum. I am very glad that I did for a variety of reasons. The show runs until June 5, 2011 and comprises some 350 objects, drawings and archival materials.

Carved emerald and diamond necklace, formerly in the collection of the Begum Aga Khan. Photo: Patrick Gries

The jewels were naturally a big draw. Who doesn't like to while away an hour gazing at treasures that inhabit quite a different world than the average person. The emerald necklace above was a particular favorite. I have always adored emeralds that are carved in the Indian taste rather than faceted in the Western sense. Cartier is quite well known for this and I was happy to see that Van Cleef was also in on the trend.

Jarretiere diamond and ruby bracelet formerly in the collection of Marlene Dietrich. Photo: Patrick Gries

This Art Deco stunner formerly in the collection of Marlene Dietrich was also a stand-out. Its scale and asymmetrical composition were quite unusual.

While the jewels were the focus, I was impressed with the avant garde displays executed by Jouin Manku Studio. The organic shapes of their individual glass domes and cases allowed very close proximity with the objects which I have yet to see in any previous jewelry exhibition. The studio was definitely thinking outside of the box and it showed.

Installation at the Cooper-Hewitt National Design Museum designed by Jouin Manku Studio. Photo: Matt Flynn, © Smithsonian Institution

Installation at the Cooper-Hewitt National Design Museum designed by Jouin Manku Studio. Photo: Faith Bowman

Manchette bracelets/necklace formerly in the collection of Daisy Fellowes. Photo: Patrick Gries

This amazing collar necklace is comprised of two bracelets that can be connected, talk about versatility. It was owned by the Singer Sewing Machine heiress Daisy Fellowes. Her taste for jewels was voracious and her Cartier "Collier Hindou" is an object of devastating beauty... but I digress.

Diamond and ruby bouquet brooch utilizing the patented "Mystery Setting". Photo: Patrick Gries

Last but not least, there was a fascinating presentation regarding the firm's patented "Mystery Setting" seen in the brooch above. For years in the auction biz I had seen a number of these sculptural pave set jewels and figured there was a configuration of small prongs to the verso. Ever the innovator, Van Cleef & Arpels devised their own uncanny solution. Essentially the stones are carved with grooves and slide into the setting much like a drawer into a chest. Truly ingenious. The video can be found here. If you find yourself with some free time I advise that you see the exhibition in person.