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1760 Louis XV
Very elaborate detailing in the architecture, interior design, furniture, and accessories.

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Express Talk: Neoclassical Furniture | The Art Institute of Chicago

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Germany, Berlin. After a design by Friedrich Gilly. Table, c. 1800. Through prior acquisitions of the Antiquarian Society through Mrs. Ralph Clarkson in memory of Ralph Clarkson, Emily Crane Chadbourne, Mrs. C. Morse Ely through the Antiquarian Society, Anne Rickcords Galt, Mrs. John L. Kellogg, Rudy S.

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A Pair of Painted and Gilded Neoclassical Chairs

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A Pair of Painted and Gilded Neoclassical Chairs offered by L' Antiquaire & The Connoisseur, Inc. on InCollect

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During the closing years of the seventeenth and early years of the eighteenth century cabinetmakers in England and Europe revolutionized furniture design. They were busy exploiting new constructional methods such as dovetailing to join panels almost seamlessly.

The smooth surfaces that resulted were decorated with mouldings and two-dimensional finishes, such as inlay and marquetry.

Throughout the eighteenth century hand craftsmanship, in all phases of the decorative arts in both England and France, reached a high pinnacle of achievement in terms of artistic expression, quality of materials used and unmatched craftsmanship.

Cabinetmakers in England and ébénistes in France produced amazing furniture at this time, which is still today considered by many some of the most beautiful ever made.

Significant pieces were designed and decorated with great attention to detail and their use and function also became a priority.

France's King Louis XV mistress Madame de Pompadour (1721-1764) had been at the forefront of the Rococo style, which preferred curvaceous lines and asymmetry.

However during the last few years of her life there was a change in both attitude and fashionable taste in Europe towards the elegant, refined, and considered more 'correct' lines of classical design.

This was a direct result of the excavations that were occurring at Herculaneum and Pompeii from 1738 and 1748 respectively, the houses being excavated confirmed measurements and proportions used in the architecture of ancient times.

They related to the many texts, which had been found in monastery libraries across Europe since the advent of humanism, the Renaissance. It was all about producing architecture whose measurements related to the scale of the human body.

When Mme Pompadour died the neoclassical style was taken up by Madame Du Barry, King Louis XV's last official mistress, as well as the Austrian Princess Marie Antoinette (1755-93) who had arrived to marry his successor.

Madame du Barry's perfect little pavilion was designed by the architect Claude Nicolas Ledoux (1736-1806) and built for her in the gardens of the Chateau de Louveciennes in 1771.

Today he considered one of the most daring and extreme exponents of Neoclassicism in France and the boldest innovator of the century.

Its unified and harmonious character made it a landmark and a premier example of the neoclassical style.

The advanced taste of its decoration and furnishings also in the new classical style impressed all who saw it. Ledoux became the fashionable architect of his day and the furniture makers for it reaped rewards.

Among those were the German based Roentgen family of cabinetmakers.

German cabinetmaker Abraham Roentgen (1711-1793) had grown his reputation based on his well-known mastery of the techniques of marquetry, a method of production originally developed at Antwerp, and other Flemish centres of luxury cabinetmaking, early in the sixteenth century.

Abraham Roentgen was a master cabinetmaker and together with his son David (1743-1807), their firm blazed a trail across 18th-century Continental Europe as their wealthy and distinguished clients commissioned superbly made furniture in the neoclassical style.

Under David Roentgen's direction as cabinetmaker to Queen Marie-Antoinette (1755 - 1793), the family workshop at Neuwied (near Cologne), became perhaps the most-successful cabinetmaking firm of the eighteenth century.

The Roentgen family workshop employed novel marketing and production techniques to service their international clientele introducing extremely complex locking mechanisms as well as startling gadgetry for their desks, tables and important case furniture.

Like magic, they would suddenly fling open to reveal several hidden drawers at the turn of a single key.

These playful and perfectly executed inventions became a favoured status symbol throughout Europe.

Skilled eighteenth century cabinetmakers would decorate furniture with designs and patterns cut from various other exotic timbers coming into Europe from far flung exotic places.

The Roentgen families fine pieces of case and seat furniture were sometimes decorated in the manner of Chinoiserie, a European evocation of Chinese motifs, or with fashionable flowers, classical scrolls, classical urns and sinuous foliate forms.

David Roentgen became the most famous cabinetmaker in his family and renowned for his very refined marquetry techniques learned from his father.

Unlike most makers of the time he did not use hot sand to shade wood or engraving tools to add fine detail to his designs: every detail, including shadows and fine shading, was carried out in different coloured timbers.

Following his father as head of the Neuwied workshop in 1772, David Roentgen strove to broaden their clientele. He began his career by continuing and developing the curvaceous Rococo furniture his father had introduced, which was sometimes decorated with rich carvings.

His "English" style of cabinetwork was based on elements dating from the early years of King George III and just occasionally influenced by the renowned English furniture designer and manufacturer Thomas Chippendale.

Both national types are frequently decorated with rich inlay of outstanding charm and elegance composed of a variety of woods, some tinted and made to form figural and floral compositions.

A superb cylinder fall desk with cabinet top by David Roentgen in the collection of The Met at New York is made of oak, cherry, cedar, pine and mahogany; veneered with mahogany, maple, burled walnut, kingwood, tulipwood, boxwood, ebony and various other woods, partly stained, mother-of-pearl; brass, partly gold-lacquered; gilt-bronze mounts; steel and brass operating mechanisms and leather.

The delightful Chinoiserie scenes are possibly after designs by Januarius Zick (German, Munich before 1730-1797 Ehrenbreitstein).

David Roentgen's ambition brought him first to Hamburg and ultimately to Paris (1774), where in 1779 he was spectacularly successful in selling his finest furniture to King Louis XVI of France for £3,300 to £4,000, an unprecedented sum of money for the time.

Although Roentgen maintained his workshop at Neuwied, Germany, where this desk was made between 1776 and 1778, his French clientele became so important that he opened an outlet at Paris.

Appointed cabinetmaker to Queen Marie Antoinette David Roentgen was granted admission (1780) as maître-ébéniste (master cabinetmaker) to the trade corporation of Paris cabinetmakers, joining the Parisian guild in 1780.

This made it possible for him to keep at Paris a stock of the furniture he manufactured at Neuwied.

His was no mean feat, when you consider he was competing against the local French ebeniste's, some of whom were of great renown like Georges Jacob (1739 - 1814) or Jean Henri Reisener (1734-1806) and also Adam Weisweiler (1750 - 1810), reputedly a former pupil at Neuwied.

The stunning Chinoiserie marquetry decorated rolltop desk also in The Met New York collection demonstrates the inventive and innovative talents of its designer and maker.

The scenes are truly delightful and he has produced a painterly effect, one that Roentgen alone attained using minescule pieces of naturally colored exotic woods.

The mechanical ingenuity of the firm is exemplified by the workings of the lower section of the desk: when the key of the lower drawer is turned to the right, the side drawers spring open; if a button is pressed on the underside of these drawers, each swings aside to reveal three other drawers.

Roentgen abandoned his earlier styles between 1775 and 1780 in favour of the more rigid and what were considered more correct classical forms. He also contrasted the rich figure of mahogany with superb bronze appliqués and mounts.

His workshop indulged in its mechanical devices, a characteristic flair begun by his father.

Magically drawers and mirrors appeared and disappeared by pressing on hidden releases; one of his team of workers, Peter Kinzing was responsible for inventing many of these gadgets and for also providing the workshop with its clockworks for superbly made clock cases.

Following Roentgen's first visit to St. Petersburg, Empress Catherine II the Great of Russia bought huge quantities of his furniture.

The Empress was captivated by his Apollo Desk (1783-84), which depicted her favorite dog as a gilded mount, and which David had decided to produce on pure speculation.

After Catherine the Great paid a huge sum for the piece, Russian nobility hurried to catch up with its sovereign, ordering examples of "Neuwied Furniture" by the dozens. King Frederick William II of Prussia also became his client.

Abraham and David Roentgen's story is a tale of international success, fame, luxury, and high honor. In David's case however, it is also the tragedy of a deeply pious man.

He had struggled to balance his ambitions and his glorious achievements with the regulations of his religious community, the Moravian brotherhood.

At the pinnacle of David's career, the workshop had employed more than 130 specialists and the annual production amounted to that of the famous Meissen porcelain factory.

His fortune shifted dramatically with the progress of the French Revolution, as Europe's nobility struggled to stay afloat, and the market for luxurious furnishings collapsed.

When in 1795 the French Revolutionary armies threatened to cross the Rhine, Roentgen evacuated his establishment and moved his stock farther inland.

Unfortunately, he lost everything from his Parisian salon and in the Neuwied workshop, both of which were sacked by Republican troops. He was crushed. Despite his appointment as court furnisher to the King of Prussia, he never really succeeded in starting a production workshop again.

His former apprentices, whom he had mentored to establish cabinetmaking workshops in the German cities of Berlin (David Hacker) and Brunswick (Christian Härder) like Weisweiler went on to be very successful.

Many of the works in an exhibition entitled Extravagant Inventions at The Met New York in 2012 showcases the Roentgen family cabinetmakers furniture. It had been lad lent from distinguished international museums and royal collections.

Six pieces from the Metropolitan Museum's own collection of Roentgen furniture were featured, in addition to two on long-term loan to the Museum. they were a writing desk (ca. 1758-62) designed by Abraham Roentgen considered to be one of the finest creations of his workshop; a spectacular Automaton of Queen Marie Antoinette (1784), a likeness of the queen at a clavichord that still functions and will be played at select times during the exhibition; and six intriguing objects from the Berlin Kunstgewerbe Museum that have never before traveled, most notably a mechanical Secretary Cabinet (1779) made for King Friedrich Wilhelm II of Prussia that is one of the most complex pieces of royal furniture ever produced.

The most complicated mechanical devices in the exhibition were illustrated through virtual video animations. Additionally, working drawings and portraits of the cabinetmakers, their family, and important patrons-as well as a series of documents owned by the Metropolitan Museum that originated from the Roentgen estate- underlined the long-overlooked significance and legacy of the Roentgens as Europe's principal cabinetmakers of the ancien régime.

They produced some of the most outstanding furniture of their age.
You can view a video about how the Roentgen Berlin Secretary Cabinet works The Metropolitan Museum of Art provided a free video of Hidden Doors and Secret Drawers by the curator
Carolyn McDowall, The Culture Concept Circle, 2012-2016

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The Roentgen Family Cabinetmakers - Neoclassical Furniture

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During the closing years of the seventeenth and early years of the eighteenth century cabinetmakers in England and Europe revolutionized furniture design. They were busy exploiting new constructional methods such as dovetailing to join panels almost seamlessly. The smooth surfaces that resulted were decorated with mouldings and two-dimensional finishes, such as inlay and marquetry.

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The Met's Heilbrunn Timeline of Art History

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French Furniture in the Eighteenth Century: Seat Furniture | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

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"Since only the menuisier was obliged to sign his work, the names of the other craftsmen are, unfortunately, rarely known."

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With so much emphasis on sleek modern spaces, it's nice to enjoy a little extravagant inspiration from time to time. The two homes explored below share many features with neoclassical design, an elegant and intricate style that appeared in the mid-1700s and retained its popularity until the early 1800s. Neoclassicism arose in direct response to the perceived busyness and frivolity of the rococo style - making it the minimalism of its time. Neoclassicism was a revival of Greek Classicism, and interestingly enough, Art Deco was too - both styles share roots despite having opposite intentions.

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Neoclassical And Art Deco Features In Two Luxurious Interiors

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With so much emphasis on sleek modern spaces, it's nice to enjoy a little extravagant inspiration from time to time. The two homes explored below share many features with neoclassical design, an elegant and intricate style that appeared in the mid-1700s and retained its popularity until the early 1800s.

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Photo by Tessa Traeger.

The living and dining room of designer Rose Uniacke's own London home.

Photo courtesy of Rose Uniacke.

In a London drawing room, designer Steven Volpe placed a Picasso painting above a bepsoke tufted sofa; the vintage pendent is Stilnovo.

Photo by Simon Upton/The Interior Archive.

For a Berkeley Square office, designer Christopher Hodsoll used silk Fortuny curtains and a 16th-century Flemish tapestry to create a sophisticated workplace.

Photo by Peter Hodsoll.

In her 1840s London town house, designer Harriet Anstruther used striped upholstery to add graphic appeal to the neutral-toned palette.

Photo by James Merrell.

For her 18th-century country house in Wales, designer Penny Morrison created a playful, personal melange of patterns - including quintessentially British chintz-covered sofas.

Photo by Miguel Flores-Vianna.

Designer Peter Mikic's London home includes a David Hockney print, custom mirror-work and a midcentury French cocktail table.

Photo by Kate Martin.

Light pouring into the back hall of a 17th-century house in Northamptonshire illuminates newly installed antiqued panelling, selected by Henrietta Spencer Churchill.

Photo by Christopher Drake.

At Buscot Park, an 18th-century neoclassical-style estate in Oxforshire, England, designer Alidad added chartreuse-green silk damask to set off the salon's famed "Briar Rose" paintings by Edward Burne-Jones.

Photo by James McDonald, courtesy of Rizzoli.

The living room of this countryside home in Devon, England, hums with bright color. It's owner, a chef, "knows how to marry unconventional ingredients to create something original and fabulous," writes interior designer Kathryn Ireland.

Photo by Gibbs Smith.

For a London townhouse, Christian Liaigre was asked to design a 19th-century townhouse around the owner's collection of Renaissance paintings. He responded with furnishings strong enough to hold their own, including a red lacquer dining table and chairs.

Photo by Mark Seelen.

Designer Nina Campbell employed a mostly white palette for the dining room of this London apartment, but added Diego Giacometti bronze wall lights and an almost-black table give the room dimension.

Photo courtesy of Nina Campbell Interiors/Cico.

An eclectic London living room styled by Architectural Digest and Elle Decor contributor Carlos Mota.

Photo by Douglas Friedman.

1stdibs dealer Jamb, Ltd. is currently selling Chesham, above, an early George III-style mantel carved from Bath stone.

Photo courtesy of Jamb, Ltd.

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Photo by Tessa Traeger. The living and dining room of designer Rose Uniacke's own London home. Photo courtesy of Rose Uniacke. In a London drawing room, designer Steven Volpe placed a Picasso painting above a bepsoke tufted sofa; the vintage pendent is Stilnovo. Photo by Simon Upton/The Interior Archive.

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French 19th Century Neoclassical Style Eighteen Light Ormolu Chandelier | 1stdibs.com

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A spectacular French 19th century Neo-Classical st. eighteen light ormolu chandelier. The very impressive central fut has various stations of ormolu design elements with a bottom inverted berried finial and ormolu spray ending with kite shaped crystals. The circular base has a patinated background adorned with pierced acanthus leaf and rosette ormolu mounts.

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WALLS NEOCLASSICAL ARCHITECTURAL WALLCOVERING Neoclassical, trompe l'oeil architectural wall frieze. Digital image on Type ll Class A wallcovering.

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The Salon Doré, West Wall

The Salon Doré a magnificent early Neoclassical period gilded room now hosed in the Corcoran Gallery of Art in Washington D C is one of my favorite period 18th century French rooms in America. I saw this room first in 1999 right after it was restored and last in Aug of 2007 when I was in D. C. for two weeks for my birthday. The Salon Doré was commissioned by Pierre Gaspard Marie Grimaud d'Orsay (14 December 1748 - 3 January 1809, Vienna), comte d'Orsay, was a Great collector of sculptures, Old Master paintings and drawings (which most of his collection now in the Louvre).

Research has shown that while it was clear that the original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the hôtel de Clermont - with plaster copies being sent to the United States. For instance, the medallions above the doors were originally carved from wood - but the Corcoran medallions are plaster replicas.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

He acquired in 1768 the hotel de Saissac (now hotel de Clermont), 69 rue de Varenne, Paris. This had been built for Jeanne Therese Pelagie d'Albert de Luynes, marquise de Saissac, in 1708, and Pierre had it rebuilt by Pierre Convers, Jean Augustin Renard et Charles Joaquim Benard, with the old ground floor bedroom made into The Salon Doré, Construction of the Salon Doré began in early 1770 was finished in late 1770, just in time for the comte's wedding. Its early neoclassical style marked a return to the order of classical antiquity - with gold leaf Corinthian pilasters that framed gilded carved trophies set in boiserie (intricately carved wood paneling). Enormous mirrors made of four sections of glass with floral garlands, interlacing ribbons,, which alternate with the pilasters and are set in frames with rectangular corners. Antique style medallions above the doors held up by putti (cupids), where vestal virgins tend the flame of Love or make sacrifices to it, rich cornices, and in general, symmetry and a formal clarity. The rather elaborate ceiling mural - an allegorical depiction of the arts and the four seasons was originally in the next room the dinning room of the house. The ceiling of the salon was decorated with L'Apotheose de Psyche on canvas by French artist Hugues Taraval. Unfortunately this ceiling did not follow the paneling to the United States. It was moved to the Hotel Veil-Picard and was eventually destroyed during the demolition of that building in 1970.

The Louis XVI style Fireplace with mantel is made of Marble from Senator Clarks Maryland quarry and dates to the early 20th century. It has beautiful Neoclassical Parisian gilt-bronze ormolu mounts.

Clock of the Vestals Carrying the Sacred Fire 1789 by Pierre-Philippe Thomire gilded, patinated, and painted bronze, Sevrès porcelain, enamel on copper, and marble belonging to French Queen Marie Antoinette

The Clock of the Vestals marked the passing of the hours in Queen Marie-Antoinette's boudoir, or private sitting room, in the Tuileries Palace in Paris, adjacent to the Palais du Louvre. The royal family was forced to move there in October 1789 after a mob of Parisians attacked the palace at Versailles, the official residence of the king for more than a hundred years. In the Tuileries the king and queen held court in gilded splendor, but they were state prisoners nonetheless. Their last unhappy days together were passed in this palace, before they were permanently separated in the mean quarters where they awaited their executions in 1793

Clock of the Vestals Carrying the Sacred Fire 1789 by Pierre-Philippe Thomire gilded, patinated, and painted bronze, Sevrès porcelain, enamel on copper, and marble belonging to French Queen Marie Antoinette

Clock of the Vestals Carrying the Sacred Fire 1789 by Pierre-Philippe Thomire gilded, patinated, and painted bronze, Sevrès porcelain, enamel on copper, and marble belonging to French Queen Marie Antoinette

Neoclassical gilt-bronze ormolu andirons date from circa 1770-75. Each has a classical goat head altar at the top and the head of Medusa on the base.

Built for the occasion of the wedding, the decor of the room was meant to be a symbol of marital unity, and of military virtue - hence the floral garlands, putti, and trophy panels depicting motifs such as love and victory. As part of the decoration, certain chairs upholstered with Gobelins tapestries woven with bouquets of flowers on a red crimson background, and console tables with tops of Antique veined alabaster were specifically designed to be placed against the walls. This type of architectural furniture was considered to be an extension of the decorative paneling, and was not meant for use.

When looking at the gold leaf closely you will see that two kinds of gold leaf was used to originally gild the 18th century room. A bright yellow gold and, for the highlights, a "green gold" that derives it's color from it's silver content were utilized in the Salon Doré. The final step of the process of gilding, details were highlighted by burnishing the gold with an agate stone.

Other furniture was designed to be used, and arranged within the space - including console tables, a rolltop desk, a card table, a sofa, six fauteuils (armchairs), eight chaises à la reine (flat-back chairs), and four bergères (upholstered armchairs). These chairs were simpler than the architectural ones, in that their frames were uncarved - however, as a sign of wealth, gilding was added.

This Renovation constituted an important step in the evolution of the new Neoclassical taste, and contributed to his entry into aristocratic circles of the Faubourg Saint-Germain.

He married Marie Louise Amélie de Croÿ (1748-1772), princesse de Croÿ-Molembais, daughter of Prince Guillaume François de Croÿ et Princess Anne Françoise Amélie de Trazegnies, on December 31, 1770. Earlier in 1770 Pierre Gaspard had been raised to the title of comte by Louis XV.

Marie-Louise and Pierre had one child, Albert-Jean-François-Louis-Marie Grimaud (June 15 1772-1843). (Albert was later called "the beau d'Orsay", and was in turn father of the dandy Alfred Guillaume Gabriel, Count d'Orsay.) Marie Louise died giving birth to him, and Pierre (a patron of the arts like his father) began traveling Europe for consolation, gathering famous collections of Old Master paintings and Antique sculptures. On his travels he also found a new wife, Marie Anne de Hohenlohe-Waldenburg-Bartenstein, of the house of Hohenlohe-Waldenburg-Battenstein, whom he married on August 22, 1784. The couple moved to Germany in 1787, meaning that - on the outbreak of the French Revolution two years later - Gaspard's property in France was seized, he was declared an Émigré, and they were left in the poverty in which he died.

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

More than a century later, an American millionaire, Senator William Andrews Clark, purchased the Salon Doré, and had it installed in his nine-story Fifth Avenue mansion, that in 1908, the New York Times called "New York's Most Expensive Private Mansion". Having traveled extensively to Europe, Senator Clark grew particularly fond of France, and wanted the Fifth Avenue home that he was constructing to be a "French palace". Because the square room was reconfigured to fit a rectangular space, the existing elements had to be rearranged, and new elements added - including 2 windows, a glass paned duble door, 4 pilasters, and two additional carved and gilt trophy panels (Theatre and Sports) all dateing from the early 20th century mixed into the 18th century elements.

For reasons unknown The original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the Hôtel de Clermont - including the carved wood Capitals for all of the pilasters with plaster copies being sent to the United States.

With the inclusion of European period rooms being a popular affectation for the wealthiest of American residences. This type of business flourished around the turn of the century. Although some of the first documented 18th century Boiserie to cross the Atlantic to America was brought over by Boston collector Peter Parker. He acquired eight ornately carved and gilded Neoclassical Boiserie panels from the circular salon of the Hôtel de Montmorency in Paris in 1848. Shortly after the Hôtel de Montmorency was demolished. Mr Parker built a mansion called Deacon house incorporating the 18th century boiserie. See a earlier blog post titled "18th century Boiserie/paneling at the Boston Museum of Art".

Carved and gilded boiserie ( wood Paneling) has always been perceived as being movable since the carved panels were originally created in workshops and then transported to their intended destinations. Dismantling interior decoration was therefore not an unusual practice in France.

Sports trophy panel made for Senator Clark early 20th century

When looking at the gold leaf closely you will see that two kinds of gold leaf was used to originally gild the 18th century room. A bright yellow gold and, for the highlights, a "green gold" that derives it's color from it's silver content were utilized in the Salon Doré. The final step of the process of gilding, details were highlighted by burnishing the gold with an agate stone.

addition a new cornice and capitals were made from plaster - as the originals had remained in Paris, along with the original painted ceiling. For reasons unknown, Clark purchased a ceiling (painted on canvas) from an adjacent dining room of the hôtel de Clermont, and had it installed in the salon.

Huguette Marcelle Clark was the youngest daughter of former U.S. Senator and industrialist William A. Clark. was born in 1906 and recently died in May 24, 2011 two weeks short of her 105th birthday. living to be 104! Huguette Clark, made international news for her vast fortune, and extremely reclusive ways. The last known photograph of her was taken in 1930. Clark's will was filed on June 22, 2011 in Surrogate's Court. The last will and testament was made in 2005 and left 75% of her estate, about $300 million, to charity. Her longtime nurse, Hadassah Peri, received about $30 million, her goddaughter, Wanda Styka, received about $12 million and the newly created Bellosguardo Foundation $8 million. Other employees who managed her residences received smaller sums. Her attorney and accountant each received $500,000. One of Claude Monet's 250 oil paintings inspired by Water Lilies (Nymphéas) in his Giverny flower garden was bequeathed to the Corcoran Museum of Art. She purchased the 1907 painting from Galerie Durand-Ruel in 1930.

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Upon his death in 1925, the Senator's vast collection of art, including the Salon Doré, was bequeathed to the Corcoran Gallery of Art. Clark's will had named the nearby Metropolitan Museum of Art as primary benefactor - however board members of the museum passed on the bequest, feeling that they were unable to accommodate certain restrictions and stipulations. Three years later, the Clark wing of the Corcoran opened to the public

The Salon Doré, South Wall (Theatre Trophy Panel) made for Senator Clark early 20th century

The Salon Doré, South Wall (Theatre Trophy Panel)

The Salon Doré, South Wall (Theatre Trophy Panel)

Over the next seventy of so years, the condition of the room began to deteriorate - due to a lack of climate control, several misguided restoration attempts, and the fact that the windows were often left open, enabling dirt and other pollutants into the space. From 1989 to 1993, the Corcoran undertook a major renovation of the Salon Doré. Using 18th century techniques, and materials ranging from garlic to more than 30,000 sheets of gold leaf, a team of French artisans was able to remove more than two centuries of wear and tear, breathing new life into the lavish, 18th century neoclassical drawing room.

Detail of the Trophy panel depicting Love.

For reasons unknown The original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the Hôtel de Clermont - including the carved wood Capitals for all of the pilasters with plaster copies being sent to the United States.

The Salon Doré, West Wall

Interestingly enough, the 19th century owners of the hôtel de Clermont, the Duchâtel family, went to considerable lengths (and expense) to have replicas of the Salon Doré paneling cast in plaster, and reinstalled in the room original room. It is unclear as to what may have motivated the sale of the originals, as the family was more than economically secure. Perhaps the initial intent was to sell the copies as well.

Trophy panel depicting Arts and Sciences

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

The Salon Doré, West Wall

Research has shown that while it was clear that the original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the hôtel de Clermont - with plaster copies being sent to the United States. For instance, the medallions above the doors were originally carved from wood - but the Corcoran medallions are plaster replicas.

The Louis XVI style Fireplace with mantel is made of Marble from Senator Clarks Maryland quarry and dates to the early 20th century. It has beautiful Neoclassical Parisian gilt-bronze ormolu mounts.

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

The rather elaborate ceiling mural - an allegorical depiction of the arts and the four seasons was originally in the next room the dinning room of the house.

To day, the original hôtel de Clermont room functions as Government office space - as the residence is now owned by the French Government, housing offices for the French Parliament. What a wonderful building with so much history to have a office! If traveling to D.C., I highly recommend seeing of the finest 18th century French period rooms in America check out the Salon Doré and the Corcoran Gallery, - it's such a fantastic example of the ostentatious luxury that once categorized interior decoration in Mid 18th century Europe

The rather elaborate ceiling mural - an allegorical depiction of the arts and the four seasons was originally in the next room the dinning room of the house.

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

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The Salon Doré, the Corcoran's 18th-century gilded French period room

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The Salon Doré, West Wall The Salon Doré a magnificent early Neoclassical period gilded room now hosed in the Corcoran Gallery of Art in Washington D C is one of my favorite period 18th century French rooms in America.

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Neoclassical Wall Decorations - 385 For Sale at 1stdibs

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Shop Neoclassical wall decorations at 1stdibs, the world's largest source of Neoclassical and other authentic period furniture. Global shipping available.

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The Salon Doré, West Wall

The Salon Doré a magnificent early Neoclassical period gilded room now hosed in the Corcoran Gallery of Art in Washington D C is one of my favorite period 18th century French rooms in America. I saw this room first in 1999 right after it was restored and last in Aug of 2007 when I was in D. C. for two weeks for my birthday. The Salon Doré was commissioned by Pierre Gaspard Marie Grimaud d'Orsay (14 December 1748 - 3 January 1809, Vienna), comte d'Orsay, was a Great collector of sculptures, Old Master paintings and drawings (which most of his collection now in the Louvre).

Research has shown that while it was clear that the original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the hôtel de Clermont - with plaster copies being sent to the United States. For instance, the medallions above the doors were originally carved from wood - but the Corcoran medallions are plaster replicas.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

He acquired in 1768 the hotel de Saissac (now hotel de Clermont), 69 rue de Varenne, Paris. This had been built for Jeanne Therese Pelagie d'Albert de Luynes, marquise de Saissac, in 1708, and Pierre had it rebuilt by Pierre Convers, Jean Augustin Renard et Charles Joaquim Benard, with the old ground floor bedroom made into The Salon Doré, Construction of the Salon Doré began in early 1770 was finished in late 1770, just in time for the comte's wedding. Its early neoclassical style marked a return to the order of classical antiquity - with gold leaf Corinthian pilasters that framed gilded carved trophies set in boiserie (intricately carved wood paneling). Enormous mirrors made of four sections of glass with floral garlands, interlacing ribbons,, which alternate with the pilasters and are set in frames with rectangular corners. Antique style medallions above the doors held up by putti (cupids), where vestal virgins tend the flame of Love or make sacrifices to it, rich cornices, and in general, symmetry and a formal clarity. The rather elaborate ceiling mural - an allegorical depiction of the arts and the four seasons was originally in the next room the dinning room of the house. The ceiling of the salon was decorated with L'Apotheose de Psyche on canvas by French artist Hugues Taraval. Unfortunately this ceiling did not follow the paneling to the United States. It was moved to the Hotel Veil-Picard and was eventually destroyed during the demolition of that building in 1970.

The Louis XVI style Fireplace with mantel is made of Marble from Senator Clarks Maryland quarry and dates to the early 20th century. It has beautiful Neoclassical Parisian gilt-bronze ormolu mounts.

Clock of the Vestals Carrying the Sacred Fire 1789 by Pierre-Philippe Thomire gilded, patinated, and painted bronze, Sevrès porcelain, enamel on copper, and marble belonging to French Queen Marie Antoinette

The Clock of the Vestals marked the passing of the hours in Queen Marie-Antoinette's boudoir, or private sitting room, in the Tuileries Palace in Paris, adjacent to the Palais du Louvre. The royal family was forced to move there in October 1789 after a mob of Parisians attacked the palace at Versailles, the official residence of the king for more than a hundred years. In the Tuileries the king and queen held court in gilded splendor, but they were state prisoners nonetheless. Their last unhappy days together were passed in this palace, before they were permanently separated in the mean quarters where they awaited their executions in 1793

Clock of the Vestals Carrying the Sacred Fire 1789 by Pierre-Philippe Thomire gilded, patinated, and painted bronze, Sevrès porcelain, enamel on copper, and marble belonging to French Queen Marie Antoinette

Clock of the Vestals Carrying the Sacred Fire 1789 by Pierre-Philippe Thomire gilded, patinated, and painted bronze, Sevrès porcelain, enamel on copper, and marble belonging to French Queen Marie Antoinette

Neoclassical gilt-bronze ormolu andirons date from circa 1770-75. Each has a classical goat head altar at the top and the head of Medusa on the base.

Built for the occasion of the wedding, the decor of the room was meant to be a symbol of marital unity, and of military virtue - hence the floral garlands, putti, and trophy panels depicting motifs such as love and victory. As part of the decoration, certain chairs upholstered with Gobelins tapestries woven with bouquets of flowers on a red crimson background, and console tables with tops of Antique veined alabaster were specifically designed to be placed against the walls. This type of architectural furniture was considered to be an extension of the decorative paneling, and was not meant for use.

When looking at the gold leaf closely you will see that two kinds of gold leaf was used to originally gild the 18th century room. A bright yellow gold and, for the highlights, a "green gold" that derives it's color from it's silver content were utilized in the Salon Doré. The final step of the process of gilding, details were highlighted by burnishing the gold with an agate stone.

Other furniture was designed to be used, and arranged within the space - including console tables, a rolltop desk, a card table, a sofa, six fauteuils (armchairs), eight chaises à la reine (flat-back chairs), and four bergères (upholstered armchairs). These chairs were simpler than the architectural ones, in that their frames were uncarved - however, as a sign of wealth, gilding was added.

This Renovation constituted an important step in the evolution of the new Neoclassical taste, and contributed to his entry into aristocratic circles of the Faubourg Saint-Germain.

He married Marie Louise Amélie de Croÿ (1748-1772), princesse de Croÿ-Molembais, daughter of Prince Guillaume François de Croÿ et Princess Anne Françoise Amélie de Trazegnies, on December 31, 1770. Earlier in 1770 Pierre Gaspard had been raised to the title of comte by Louis XV.

Marie-Louise and Pierre had one child, Albert-Jean-François-Louis-Marie Grimaud (June 15 1772-1843). (Albert was later called "the beau d'Orsay", and was in turn father of the dandy Alfred Guillaume Gabriel, Count d'Orsay.) Marie Louise died giving birth to him, and Pierre (a patron of the arts like his father) began traveling Europe for consolation, gathering famous collections of Old Master paintings and Antique sculptures. On his travels he also found a new wife, Marie Anne de Hohenlohe-Waldenburg-Bartenstein, of the house of Hohenlohe-Waldenburg-Battenstein, whom he married on August 22, 1784. The couple moved to Germany in 1787, meaning that - on the outbreak of the French Revolution two years later - Gaspard's property in France was seized, he was declared an Émigré, and they were left in the poverty in which he died.

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

More than a century later, an American millionaire, Senator William Andrews Clark, purchased the Salon Doré, and had it installed in his nine-story Fifth Avenue mansion, that in 1908, the New York Times called "New York's Most Expensive Private Mansion". Having traveled extensively to Europe, Senator Clark grew particularly fond of France, and wanted the Fifth Avenue home that he was constructing to be a "French palace". Because the square room was reconfigured to fit a rectangular space, the existing elements had to be rearranged, and new elements added - including 2 windows, a glass paned duble door, 4 pilasters, and two additional carved and gilt trophy panels (Theatre and Sports) all dateing from the early 20th century mixed into the 18th century elements.

For reasons unknown The original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the Hôtel de Clermont - including the carved wood Capitals for all of the pilasters with plaster copies being sent to the United States.

With the inclusion of European period rooms being a popular affectation for the wealthiest of American residences. This type of business flourished around the turn of the century. Although some of the first documented 18th century Boiserie to cross the Atlantic to America was brought over by Boston collector Peter Parker. He acquired eight ornately carved and gilded Neoclassical Boiserie panels from the circular salon of the Hôtel de Montmorency in Paris in 1848. Shortly after the Hôtel de Montmorency was demolished. Mr Parker built a mansion called Deacon house incorporating the 18th century boiserie. See a earlier blog post titled "18th century Boiserie/paneling at the Boston Museum of Art".

Carved and gilded boiserie ( wood Paneling) has always been perceived as being movable since the carved panels were originally created in workshops and then transported to their intended destinations. Dismantling interior decoration was therefore not an unusual practice in France.

Sports trophy panel made for Senator Clark early 20th century

When looking at the gold leaf closely you will see that two kinds of gold leaf was used to originally gild the 18th century room. A bright yellow gold and, for the highlights, a "green gold" that derives it's color from it's silver content were utilized in the Salon Doré. The final step of the process of gilding, details were highlighted by burnishing the gold with an agate stone.

addition a new cornice and capitals were made from plaster - as the originals had remained in Paris, along with the original painted ceiling. For reasons unknown, Clark purchased a ceiling (painted on canvas) from an adjacent dining room of the hôtel de Clermont, and had it installed in the salon.

Huguette Marcelle Clark was the youngest daughter of former U.S. Senator and industrialist William A. Clark. was born in 1906 and recently died in May 24, 2011 two weeks short of her 105th birthday. living to be 104! Huguette Clark, made international news for her vast fortune, and extremely reclusive ways. The last known photograph of her was taken in 1930. Clark's will was filed on June 22, 2011 in Surrogate's Court. The last will and testament was made in 2005 and left 75% of her estate, about $300 million, to charity. Her longtime nurse, Hadassah Peri, received about $30 million, her goddaughter, Wanda Styka, received about $12 million and the newly created Bellosguardo Foundation $8 million. Other employees who managed her residences received smaller sums. Her attorney and accountant each received $500,000. One of Claude Monet's 250 oil paintings inspired by Water Lilies (Nymphéas) in his Giverny flower garden was bequeathed to the Corcoran Museum of Art. She purchased the 1907 painting from Galerie Durand-Ruel in 1930.

element

Upon his death in 1925, the Senator's vast collection of art, including the Salon Doré, was bequeathed to the Corcoran Gallery of Art. Clark's will had named the nearby Metropolitan Museum of Art as primary benefactor - however board members of the museum passed on the bequest, feeling that they were unable to accommodate certain restrictions and stipulations. Three years later, the Clark wing of the Corcoran opened to the public

The Salon Doré, South Wall (Theatre Trophy Panel) made for Senator Clark early 20th century

The Salon Doré, South Wall (Theatre Trophy Panel)

The Salon Doré, South Wall (Theatre Trophy Panel)

Over the next seventy of so years, the condition of the room began to deteriorate - due to a lack of climate control, several misguided restoration attempts, and the fact that the windows were often left open, enabling dirt and other pollutants into the space. From 1989 to 1993, the Corcoran undertook a major renovation of the Salon Doré. Using 18th century techniques, and materials ranging from garlic to more than 30,000 sheets of gold leaf, a team of French artisans was able to remove more than two centuries of wear and tear, breathing new life into the lavish, 18th century neoclassical drawing room.

Detail of the Trophy panel depicting Love.

For reasons unknown The original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the Hôtel de Clermont - including the carved wood Capitals for all of the pilasters with plaster copies being sent to the United States.

The Salon Doré, West Wall

Interestingly enough, the 19th century owners of the hôtel de Clermont, the Duchâtel family, went to considerable lengths (and expense) to have replicas of the Salon Doré paneling cast in plaster, and reinstalled in the room original room. It is unclear as to what may have motivated the sale of the originals, as the family was more than economically secure. Perhaps the initial intent was to sell the copies as well.

Trophy panel depicting Arts and Sciences

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

The amazing flower paintings that decorate the door panels are of bouquets of cut flowers that are represented in a naturalistic fashion tied with a ribbon on the upper doors and in Neoclassical urns on the bottom doors.

The Salon Doré, West Wall

Research has shown that while it was clear that the original cornice and ceiling mural remained in Paris, other minor elements also remained in place at the hôtel de Clermont - with plaster copies being sent to the United States. For instance, the medallions above the doors were originally carved from wood - but the Corcoran medallions are plaster replicas.

The Louis XVI style Fireplace with mantel is made of Marble from Senator Clarks Maryland quarry and dates to the early 20th century. It has beautiful Neoclassical Parisian gilt-bronze ormolu mounts.

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

The rather elaborate ceiling mural - an allegorical depiction of the arts and the four seasons was originally in the next room the dinning room of the house.

To day, the original hôtel de Clermont room functions as Government office space - as the residence is now owned by the French Government, housing offices for the French Parliament. What a wonderful building with so much history to have a office! If traveling to D.C., I highly recommend seeing of the finest 18th century French period rooms in America check out the Salon Doré and the Corcoran Gallery, - it's such a fantastic example of the ostentatious luxury that once categorized interior decoration in Mid 18th century Europe

The rather elaborate ceiling mural - an allegorical depiction of the arts and the four seasons was originally in the next room the dinning room of the house.

The original window curtains are describe in a Inventory drawn up after the death of Marie Louise the comte's wife. They are Two window curtains made of four pieces of crimson damask with the whole being adorned with a band of imitation gold and estimated all together at eight hundred livres. The red background of the Gobelins tapestry on the gilded furniture would have matched the great curtains of crimson damask and given the salon it's dominant colors of crimson and gold, colors that were used for the decoration of the Royal apartments. Today the curtains are reproduced from a 1781 drawing of a window wall by the same architect Chalgrin. They are the perfect crimson, champagne and cream silks with golden passementerie all hand woven and hand made in France.

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The Salon Doré, the Corcoran's 18th-century gilded French period room

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The Salon Doré, West Wall The Salon Doré a magnificent early Neoclassical period gilded room now hosed in the Corcoran Gallery of Art in Washington D C is one of my favorite period 18th century French rooms in America.

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Inspired by Roman and Greek classical architecture, the neoclassical movement began in the 18th century. Generally it's known as Federal in the USA, Georgian and Regency in the British Isles, Empire in France and Biedermeier in Germany.

As a reaction to the Baroque and Rococo styles that preceded, neoclassical art, architecture and interior decoration has the ability to produce either massive country houses in England, such as Woburn Abbey, the Arc de Triomphe in Paris or the beautiful homes seen in New Orleans and on the streets of Bath, England. The style touches the hearts (and budgets) of a fast-growing middle class across North America, the British Isles and Europe.

When done right, neoclassical can be opulent, majestic, restrained, romantic and tasteful all at once. It is the one major period style that even today and continues to inspire new residential and religious buildings, as well as corporate and city planning developments. The Capitol building in Washington, D.C. (and most state capital buildings around the country) follow the neoclassical style, implying the ideals of the democracy of ancient Rome.

Though it's impossible to mention all the incredible talent of the 18th century with designers and furniture makers such as Thomas Chippendale, William Kent and later, Thomas Sheraton, we must talk a bit about the Adam Brothers.

The Adam Brothers were eminent in both architecture and interior design. Returning from Italy and Greece in the mid 18th century and being heavily influenced by the frescos of Pompeii and Herculaneum and the Etruscan Vases, Robert and James set up business with their elder brother John. It was a good time for architects, builders and artisans. The industrial revolution was powering a fast-growing middle class of wealthy businessmen, all eager to lead a more comfortable and luxurious life.

The brothers wanted a lighter and more elegant style, and they documented the furniture, fittings and fixtures they designed in their book, "The Works of Architecture," published during the 1770s. Their tasteful and delicate interior designs utilized the new affordable paint available. Wood-carved decoration was subtle and in low relief and contained classical Roman elements of medallions vases and urns, delicate scrolls, dancing female figures, sphinxes and griffins.

In the late 18th century, the simpler Regency style in Britain and the Empire style in France and Russia superseded the Adam style, but it has had many revivals over the last 200 years and is the most popular style among our clients.

Check out designs for our historically accurate neoclassical-style room.
(Source: Handbook of Ornament by Franz Sales Meyer)

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Agrell Architectural Carving * Period Style Primer: Neoclassical

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Inspired by Roman and Greek classical architecture, the neoclassical movement began in the 18th century. Generally it's known as Federal in the USA, Georgian and Regency in the British Isles, Empire in France and Biedermeier in Germany.