#Hoentschel

[thedeadleafs]

Georges Hoentschel, Chair, 1900

Oak from Algiers.

[detournementsmineurs]

Oeuvres en grès émaillé ou flammé d'Emile Müller et Cie, Frédéric Deschamps, Jean-Joseph-Marie Carriès, Antonin Mercié et Georges Hoentschel (circa 1889-1902) et "Cheminée" attribuée à Emile Müller et Cie en grès cérame émaillé (circa 1904) dans les Collections Permanentes du Musée d'Arts Décoratifs, janvier 2022.

[met-european-sculpture]

Vase by Georges Hoentschel, European Sculpture and Decorative Arts

Medium: Stoneware

Purchase, The Charles E. Sampson Memorial Fund and Friends of European Sculpture and Decorative Arts Gifts, 2011 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/238560

[beautifulcentury]

1 - Émille Gallé, Aube et Crépuscule, bed, 1900. Palisander, ebony, mother-of-pearl, iridiscent glass.

2 - Georges Hoentschel, Chair, 1900. Oak from Algiers.

3 - Dressing table, mahogany veneer and white marble top, French, c.1825.

[jaynedesignblog]

Why Look at Fragments?

Jean-Joseph de Saint-Germain, clock ornament, figure of a child with feather headdress. French, mid-18th century, gilt bronze. The Metropolitan Museum of Art, gift of J. Pierpont Morgan, 1906.

Since ancient times, students of design have studied bits and pieces of antique sculpture and architecture and have considered how these fragments can inform our knowledge of the past and further contemporary design. For example, the Romans valued elements from ancient Greece; collectors during the Renaissance gathered parts of the Roman Empire; and in the late eighteenth and throughout the nineteenth century, museums that were dedicated to collections of fragments were formed, notably the Sir John Soane Museum in London, the Victoria and Albert Museum, and the Cooper-Hewitt, now known as the Smithsonian Cooper-Hewitt, National Design Museum.

Fragments have been especially on my mind with the opening of Salvaging the Past: Georges Hoentschel and French Decorative Arts from the Metropolitan Museum of Art at The Bard Graduate Center (on view through August 11th).

For myself, as a decorator, they offer clues of what a whole building or sculpture or decorative object might have looked like and how it was crafted. More importantly, by their incremental nature, they are abstract elements of design that can be interpolated into new creations. To borrow a term from today’s music, they can be “sampled” into a larger design.

The exhibition is based on the collection of Georges Hoentschel, Director of Maison Leys, a high-end French decorating firm which operated during the Belle Epoque period and catered to the newly moneyed bourgeois class.

In 1906, J. Pierpoint Morgan visited Hoentschel’s extensive display of fragments of decorative arts and architecture. Recognizing its significance, he purchased the collection outright. As president of the Metropolitan Museum of Art, he donated the group of more than 3,000 objects, leading to the creation of a wing dedicated to the decorative arts in 1910.

Devoted largely to the eighteenth century, these fragments epitomize the refinement accomplished in a golden age of the decorative arts. The majority were removed from permanent display in the 1950's when the museum reconsidered its encyclopedic displays in favor of period rooms. Bard’s exhibit highlights the creator, Georges Hoentschel, and his collection, including a recreation of parts of his Parisian gallery and examples of furniture and ceramics he designed as well.

Here are few of the treasures from Hoentschel’s collection that are on display at Bard.

Furniture mount, French, 1785-90, gilt bronze. The Metropolitan Museum of Art, gift of J. Pierpoint Morgan, 1906

Interior of 58 Boulevard Flandrin, Paris, 1906. The Thomas J. Watson Library. Presented by J. Pierpoint Morgan.

Panel from the top of a mirror with a mask of Flora, French, ca. 1725, carved oak. The Metropolitan Museum of Art, gift of J. Pierpoint Morgan, 1906

Window bolt (espagnolette), French, 1780–85, gilt bronze. The Metropolitan Museum of Art, gift of J. Pierpont Morgan, 1906

Crest of a mirror. French, 1715–30. Carved and gilded walnut. The Metropolitan Museum of Art, gift of J. Pierpont Morgan, 1906

Eagle head ornament, French 1790-1810, gilt bronze. The Metropolitan Museum of Art, gift of J. Pierpont Morgan, 1906

  Basket of flowers, French, 1765–75, carved and gilded walnut and oak. The Metropolitan Museum of Art, gift of J. Pierpont Morgan, 1906

  Lion’s paw furniture mount, French, late 17th–early 18th century, gilt bronze. The Metropolitan Museum of Art, gift of J. Pierpont Morgan, 1906

A pair of earthenware and gilt-bronze lamps on carved elm pedestals by Georges Hoentschel, c. 1900, (these were sold at Sotheby’s and are not in the show) are interesting because they communicate his ability to use antique bronze mounts to suit contemporary taste of his time.

 A detail of the handle from the above.

[detournementsmineurs]

Aiguière, coupe, pot à crème et bol d'Alexandre Bigot en grès émaillé et argent doré (circa 1895-1900) et pichet de Max Laüger en faïence (circa 1898) dans le "Salon du Bois 1900" de Georges Hoentschel (1900) à l'exposition “Luxes” au Musée des Arts Décoratifs (MAD), octobre 2020.

[detournementsmineurs]

"Salon du Bois" (détails) de Georges Hœntschel en platane d’Algérie (1900), salle fermée au public, dans le cadre de la visite guidée "Hector Guimard et l'Art Nouveau" par Corinne Dumas-Toulouse, historienne de l’art et créatrice textile, au Musée des Arts Décoratifs, octobre 2017.

[detournementsmineurs]

Flacon "Fougères" de René Lalique (1912) présenté dans le "Salon du Bois" de Georges Hœntschel en platane d’Algérie (1900), salle fermée au public, dans le cadre de la visite guidée "Hector Guimard et l'Art Nouveau" par Corinne Dumas-Toulouse, historienne de l’art et créatrice textile, au Musée des Arts Décoratifs, octobre 2017.

[detournementsmineurs]

"Salon du Bois" de Georges Hœntschel en platane d’Algérie (1900), salle fermée au public, dans le cadre de la visite guidée "Hector Guimard et l'Art Nouveau" par Corinne Dumas-Toulouse, historienne de l’art et créatrice textile, au Musée des Arts Décoratifs, octobre 2017.