I hope that you all had holidays filled with laughter and love!
Now it’s time to get back to work! There are walls that need color, rooms that need furniture and houses that need to be turned into homes. It is our job to make the places that our clients live and work to be welcoming, wonderful and inspiring. How lucky are we to do this work and how lucky are they to have us!
I am looking forward to working with you in this next year. Please come by and see us at the showroom or take a look at what we have to offer at GardenCourtAntiques.com.
“West Point, New York” is one scene from the scenic wallpaper “Views of North America” first produced by the French firm Zuber et Cie in 1834. This scenic contains 32 panels and shows some of the natural wonders of the continent: New York Bay, Boston Harbor, West Point, & the natural bridge of Virginia. Scenic wallpapers were introduced around 1804 and remained popular with new designs being introduced until 1865. Scenic wallpaper allowed the viewer to visually access an historical moment during the July Monarchy (July 1830- 1848) in which America was idealized as the future of France.
“Vues d’Amérique du Nord” offers an idealized view of Jacksonian America as conceived by its designer, Jean-Julien Deltil, who may never have visited the United States and based hiswork on the designs of Jacques-Géard Milbert, and designed the paper for Jean Zuber et Cie in 1834. Zuber crafted the paper using 1,700 hand-carved blocks and 223 different colors. The Frenchman’s scenes of free blacks engaged in trade, dressed in finery, and residing happily alongside their white counterparts presented an idealized (bordering on utopian) view of the newly born country, which may have been intended as a slight to the English as much as it was a glorification of the Americans’ nascent democratic nation.
In 1852, Jean Zuber took advantage of a nationalist wave in the US and republished “Views of North America”, as “The War of American Independence”. He substituted foreground figures so the Boston Harbor became the Boston Tea Party. Peaceful scenes became battlefields.
Between 1804 and 1860, Zuber Manufacture de Papiers Peints produced more than 25 of these panoramas wallpapers. The process is labor-intensive, requiring hundreds of hand-carved pearwood blocks. Unfortunately, the method of carving the blocks is virtually a lost art, a set for one panorama took up to 20 engravers a full year to complete. For some panels, 70 to 80 different woodblocks might be required, applied one by one in an exacting order. To create the horizon, four people work simultaneously using a complex hand-brushing technique, producing a velvety matte. The papers are then refined by hand and dried on huge racks. Zuber et Cie’s wallpapers are astonishing in their scale and painterly attention to coloration, shading, and detail.
It was reported that Zuber’s wallpapers were so renowned that King Louis Philippe honored him with the Legion of Honor in 1834, the year that ‘Scenic America’ was printed. The Zuber blocks were recently deemed an historic monument by the French government.
Fascinating & beautiful video from the Manufacturer, Zuber et Cie, which shows us how these these large-scale scenic block-print wallpaper panels are made using the same craftsmanship and time-consuming artistry that has defined their work for centuries. ** We recommend you turn the audio off, there is no narration and the music is, well, lacking. :)
The White House.
Jacqueline Kennedy was so taken by the beauty and historical significance of these wallpaper block print panels that she had one installed in the White House in the 1960’s The Diplomatic Reception Room in the White House is one of three oval rooms in the White House. It was refurbished in 1960 during the Dwight Eisenhower administration in the style of the Federal period with antiques selected by New York interior designer Michael Greer. In 1962, with advice from American antiques expert Henry Francis du Pont, First Lady Jacqueline Kennedy had the room papered with antique French scenic wallpaper produced by Jean Zuber et Cie in Rixheim (Alsace), France c. 1834. The Zuber wallpaper, titled Scenes of North America, and features scenes of Boston Harbor, the Natural Bridge in Virginia, West Point, New York, Niagara Falls, and New York Harbor.
The sweeping panorama on the elliptical walls provide a sense of space negating the lack of windows. Additional Federal-era furniture was acquired, and upholsteries and the carpet furthered a soft gold and blue decor.
~ [Source: Author: Paulus Swaen]
Combining contemporary art alongside antiques reflect the way Interior Designers innovate with their design projects today.
Next time you visit the showroom at 151 Vermont you’ll notice ‘temporary’ exhibitions of contemporary works of art.
Let us know what you think.
Currently in the Showroom we are featuring photographic works from Napa Artist, Lewis deSoto in conjunction with Laurie Ghielmetti Interiors. These ephemeral images were staged in response to the ‘destructive process’ of Land Art, a defining element of Postwar American art.
Lewis deSoto ARTIST STATEMENT Site Projects 1980-1986
The Site Projects were the step between my purely photographic work of the late 70’s and early 80’s and the sculpture that was to take precedent by 1989. The work was a philosophical response to “earthworks” sculptors like Smithson, Heizer and DeMaria. What issue was taken, was the destructive process (I mean this in digital terms, where the original is destroyed as a piece of data is constructed); bulldozers marked and moved the earth to serve their metaphorical purpose.
The Site Projects used the site as a stage that left a dwindling trace of my work there. I added a temporal element that was echoed in many works that took place during long camera exposures at night. These works dealt with notions of power and scale; like Chinese landscapes, these works compared the scale of the human against the overarching embrace
of the world, the stars and the galaxies.
Most projects began with drawings, some formalized instructions that could be reengaged at a later date or by myself or other artists. This was, in part, a response to the ephemeral nature of color print photography at the time. Now these works can be translated digitally and placed on paper with pigments for permanent display. The desired print size of the work has also grown over the years, starting at 18” x 18” and ending at 30” x 30” sometime in the early 1990’s. I have engaged larger sizes now that these are translated to digital media.
California’s San Francisco Bay area was a major center for the emergent Abstract Expressionist school of art in the years following World War II. The work was characterized by ‘non-objective imagery that appeared emotionally charged with personal meaning’; an exuberant ‘free-spirited wave of creative energy’.
The Abstract Expressionist Movement in San Francisco derived inspiration from a broad collective of artists: San Francisco’s Beat poets, Dixieland jazz musicians, and the area’s stunning vistas were essential parts of Abstract Expressionism, as were artistic and spiritual contacts with Asia.
Today, we showcase a personal favorite, a large-scale work by the California Bay area artist, Jerry Carniglia.
Jerry Carniglia ARTIST STATEMENT
As much as every instant of the painter’s process requires his in-the-moment decision-making, the resulting works are multi-layered compilations of action over time— gestures and counter-gestures that amplify or obscure one another.
In his large-scale paintings on canvas, monumental non-representational forms hover in pictorial space and imply a potent energy force such as a tidal wave, avalanche, or cosmic flash. The dynamic forms and rich palettes of burnt umber, gold and maroon create an epic quality, like that in works by Titian, one of Carniglia’s influences, but without reference to specific mythic or religious subjects. Although rooted in Abstract Expressionism, Carniglia’s work could be described as contemporary Baroque, with its exaggerated sense of motion, grandeur and implied drama. In what he describes as our post-existential era, Carniglia’s act of painting is a search for meaning, not through religion, myth or history, and not as a personal rationalization in a meaningless world, but meaning that may be found in the unseen and otherwise unarticulated structures that underlie all of existence.
Jerry Carniglia was born in San Francisco in 1946. He received an MFA from UC Berkeley in 1993. He is the recipient of the Eisner and Phelan Prizes, a Gerbode Foundation Award and a MacDowell Colony Fellowship. His works are in the collections of The Fine Arts Museums of San Francisco and the Berkeley Art Museum.
** excerpted from Chandra Cerrito Contemporary Gallery, Oakland, CA
The blending of traditional, antique and contemporary makes a space interesting, exciting and a bit unexpected. To be sure, interiors design with a focus on all traditional or entirely contemporary stylings are splendid. But, often, when a designer takes the risk to blend styles; mix contemporary with antique, the results can be range from the stunning to dramatic.
A blend of styles reflects the way we live today; a mashup, if you will, that makes a larger statement than strict adherence to an normative or aesthetic.
Today, we celebrate an artist whose work we are showcasing in our Vermont Street Showroom, Dianne Romaine. Her Chroma paintings speak to her fascination with light and its magical properties. Select pieces are now on view.
“Dianne Romaine’s use of saturated pigment in her Chroma series composes a dramatic, almost photographically rendered void flooded with light. This captured moment references the photographic, giving the viewer a frozen glimpse of a transient glow.” – Oakland Art Museum http://oaklandartmurmur.org/
These “Chroma” painting reflect a fascination with light that has been with me always- how it spills into a room, the edges, the slow, subtle changes as time advances, its magical presence. The light in these paintings come from layers of color, progressing to darks, allowing an internal illumination.
A Monday conversation on design to start the week: Jim Gallagher, manager of Garden Court Antiques remarks on a question & dialogue posed to him over the weekend regarding modernism & contemporary interior design elements.
The Vermont Street Showroom is featuring some contemporary works in the coming months to show the exciting partnership to be had when mixing styles