Le Blog

Must See: The Fashion World of Jean-Paul Gauthier - From the Sidewalk to the Catwalk

2012-01-23T15:27:00.000-08:00

For all you fashionistas out there, there's an amazing show running in Dallas you won't want to miss. It's the first-ever US exhibit devoted to the designs of world-renowned French couturier Jean-Paul Gaultier.

Fashion model with Jean-Paul Gaultier.

From now through February 12, 2012, the Dallas Museum of Art is hosting "The Fashion World of Jean-Paul Gaultier - From the Sidewalk to the Catwalk", the museum's first-ever exhibit dedicated to the art of fashion.

Exhibit Entrance.

Ensemble by Jean-Paul Gaultier.

Jean-Paul Gaultier and Madonna.

Organized by the Montreal Museum of Fine Arts in collaboration with the Maison Jean Paul Gaultier, the exhibition premiered in Montreal on June 15, 2011. It will travel to the Fine Arts Museums of San Francisco, de Young, in March 2012 and then on to Spain, the Netherlands, and finally Stockholm in 2013.

Jean-Paul Gaultier bustiers.

From Jean-Paul Gaultier's "Les Vierges" Collection.

Organized by six thematic influences on the designer's career - “The Odyssey of Jean Paul Gaultier,” “The Boudoir,” “Skin Deep,” “Punk Cancan,” “Urban Jungle,” and “Metropolis” - the exhibit features over 130 pieces created between 1976 and 2010 (most of which have never been exhibited before). Sketches, stage costumes, photography, excerpts from films, runway shows, concerts, dance performances, and televised interviews will all provide a look at the couturier’s world and explore how his avant-garde fashions challenged societal and aesthetic codes in unexpected, and often humorous, ways.

Jean-Paul Gaultier mannequins.

30 animated, talking mannequins, including one of Gaultier, will surprise visitors with their lifelike presence and spontaneous commentary.

Jean-Paul Gaultier in front of his talking mannequin.

"The Fashion World of Jean-Paul Gauthier - From the Sidewalk to the Catwalk"
November 13 - February 12, 2012
Dallas Museum of Art
1717 N Harwood St
Dallas, Texas 75201

From Pianos to Contemporary Furniture

2012-01-18T11:28:00.000-08:00

Pleyel, one of France's oldest and most prestigious piano manufacturers/ébénistes since the early 1800's, has just reinvented itself as a major player in the contemporary furniture market with a brand new line of contemporary furniture and design.

A fascinating collaboration between some of France's most innovative designers and its most skilled wood workers, Mobiliers Pleyel, will launch its debut collection at the prestigious French home decor trade show "Maison et Objet", which opens this Friday in Paris.

Pleyel armchair by Hilton McConnico.

Decorators, designers, architects and business owners alike will get to see works designed by Hilton McConnico, Michele De Lucchi, Noé Duchaufour-Lawrance, Philippe Maidenberg, Alice Etcaetera and Patrick Norguet, just to name a few.

Pleyel Screen by Alice Etcaetera.

Pleyel table by Alice Etcaetera.

Pleyel has every intention of becoming a world class, high-end, cutting edge, contemporary furniture designer/manufacturer, offering atypical pieces that stand out from the pack.

Pleyel's Archie Scheep stool by Philippe Maidenberg.

"Innovation, is about being aware of the exceptional savor-faire we have developed over the years and approaching our 3rd century of existence with an avant-garde creativity available to contemporary French furniture designers. Living is about creating and reinventing oneself", says Arnaud Marion, Creative Director, Pleyel Mobilier.

You can find Pleyel Mobilier at Maison et Objet, Jan. 20-24, 2012
Hall 7- Scène d'intérieur - B143 - C144.

Antiquing Under the Eiffel Tower - Jan 13-22, 2012

2012-01-09T12:44:00.000-08:00

Traveling to Paris? If you happen to be there next week, stop by the Eiffel Tower, you won't be disappointed. PCE Events is organizing its 4th annual, outdoor, tented antique fair in January on Quai Branly (7th around.), near the Pont d'Iéna.

This prestigious, upscale exhibit features antiques and fine art from all over the world, showcasing some of the finest and most unusual treasures available today. Space is limited so a mere 40 dealers are selected each year by a panel of experts. You'll see pieces from France, Italy, China and Holland, just to name a few.

Entrance to the Salon Des Antiquaires Tour Eiffel.

Dealer exhibit at the Salon des Antiquaires Tour Eiffel.

The exhibit is open to the public, Jan. 13-22, 2012 from 11am to 8pm, so whether you are a serious collector, a dealer, an art lover, or just happen to be passing by, you won't want to miss it. If you don't make this show, never fear, it is actually a biannual affair, with the another one opening in May.

Salon des Antiquaires et des Galeristes- Tour Eiffel
Quai Branly, on the corner of Pont d’Iéna
75007 Paris
Métro Ligne 6: Station Bir-Hakeim ou Passy
RER C: Station Champ de Mars/Tour Eiffel
Daily from 11h to 20h.
Nocturne on Thursday 19 janvier until 22h.
Entrance Fee: 10 euros. Free under 18 years.

Free Catalogues. Car service, Restaurant, Salon de The.

From Antibes to Paris - Record Sale for Nicolas de Staël

2012-01-05T13:44:00.000-08:00

Nu Couché by Nicolas de Staël, 1954

One of our favorite places to visit in France, where we return time and time again, is the Picasso Museum in Antibes (Chateau Grimaldi). The building, a castle which dates from the Middle Ages, became a historical museum in 1925. After a visit by Pablo Picasso in 1945, the curator offered him a studio on the premises where Picasso worked for a year, leaving behind a beautiful collection of paintings, drawings and ceramics. In 1966 the museum was officially renamed Picasso Museum, in tribute to the artist.

Picasso Museum, Antibes, France.

Sculpture garden overlooking the Mediterranean Sea at the Picasso Museum, Antibes.

It is a lovely place, bathed in beautiful light, overlooking the Mediterranean Sea; the permanent collection is wonderful – but not just the Picasso pieces – there are many works by several of his contemporaries, including an important collection by Nicolas de Staël, whose work we have long admired.

Nicolas de Staël in his studio in Antibes, France.

So naturally, when we heard about the recent auction in France, where a painting by Nicolas de Staël sold for a record breaking €7 million, we were enthused.

Nu Couché (1954), one of the rarest nude paintings by the Russian artist, from which only twenty are known, was the highlight of an auction organized by Artcurial on December 6th in Paris. According to the auction house, the painting was estimated at €2.7 million. This was the highest bid of the year in Paris and established a new world record for a Nicolas de Staël piece. Apparently, the piece was acquired by an American collector, after a fierce fight between 6 bidders from France, England and the US. The loan of this painting has been requested by the Picasso Museum in Antibes for a show of De Staël's nudes in 2014.

"Le Concert" by Nicolas de Staël, Picasso Museum, Antibes, France.

Nicolas de Staël (1914-1955) was one of the most important artists in Europe in the 20th century, although his career was stopped short (sadly, he took his life in Antibes at the age of 41). His art, influenced by Cézanne, Braque and Matisse, was first abstract before turning figurative – an unusual artistic progression. Nu couché depicts one of the classic models of figurative painting - a woman lying naked - the form refined, details simplified, perspective flattened. Apparently the painting boasted a single previous owner since 1954, a French collector who purchased the piece from the artist’s dealer, Jacques Dubourg; the piece was displayed in numerous exhibitions worldwide.

"L'Etagère" by Nicolas de Staël, Picasso Museum, Antibes, France.

Picasso Museum
Château Grimaldi
Place Mariejol
06600 Antibes
Tel: 33 (0)4 92 90 54 20

Happy Holidays!

2011-12-20T12:23:00.000-08:00

A Rare and Beautiful Find...

2011-12-09T12:49:00.000-08:00

Majestic 18th century Louis XIV armoire in solid walnut.

This is one of the most incredible early 18th century period piece we've ever purchased. This noble piece was crafted in the region of Versailles during the late reign of Louis XIV. The "Sun King", after a life of excess and pleasure, was looking for spiritual guidance... the stars of Bethlehem, hand carved in high relief in the mid section of the amazing 3 panel doors, are a vibrant symbol of this late quest. The Fleur de Lys shows the piece was commissioned for a noble family with close ties to the court. The most beautiful figured walnut was selected, hand forged iron hardware and key. All original. An extremely rare find. We just have to show this off!

Holiday Gift Guide

2011-12-02T12:23:00.000-08:00

Looking for the perfect gift for that very special person this year? Here are some of our favorite things that would make anyone feel ultra special this holiday season...

Venetian Vanity Mirror - $650

Italian Vintage Gold Leafed Busts - $2500

Fragonard Scented Candles - $42

19th Century French Confit Pot - $400

Fragonard Heart Soaps - $22

19th Century Majolica Heron - $6500

Original Oil Painting by Meredith Pardue - $2700

Pair of Cobalt Murano Glass Vases - $5200

19th Century French Water Pitcher - $1275

Pair of Lilac Murano Glass Lamps - $4200

American Empire Jewelry Box - $1700

Free Shipping to NYC

2011-11-21T06:17:00.000-08:00

Buy Now and Get Free Delivery to NYC!

Happy Holidays New Yorkers!
We're offering free delivery to New York City for all purchases made now through December 31, 2011.
Delivery to New York City will take place in January 2012.

Call now for more information: 512.457.0077
Browse our inventory: http://www.jeanmarcfray.com/

Murano Glass: A Thousand Year Old Love Affair

2011-11-15T09:46:00.000-08:00

Vintage Murano Glass Chandelier by Barbini

The story of Venetian glass is one of art history’s most fascinating tales; over a thousand years old, it has captured the hearts of artists, royalty, noblemen, politicians and entrepreneurs the world over, growing to mythic proportions with epic accounts of obsession and passion, secrecy and intrigue, even betrayal. And no wonder everyone’s making a fuss, given the extremes this mysterious art form has had to endure: racing to the top of its industry, dominating the post for centuries then crumbling to near demise in the blink of an eye, enduring the pains of rejection, humiliation and defeat, then rising up again, almost by magic, finding the strength and the will to reclaim its rightful place in the universe (the glass universe that is)… Sounds more like a love story than an historical narrative. Come to think of it, that’s exactly what this is – a love story that started once upon a time, long, long ago in a far away place…

Venice, Italy

Laguna Veneta
The Island of Murano, (as it is frequently described - it is actually an archipelago connected by bridges) is located one mile north of Venice in the Laguna Veneta. Inhabited since the 5th century, it did not become the epicenter of glass-making until the late 13th century when the Serenissima (the Republic of Venice) ordered all glass furnaces be moved from the central island of Venice to the island of Murano. This evacuation was motivated by the inherent fire hazard these ovens posed for a city constructed mostly of wood. Some argue that this was in fact a political move to protect the increasingly coveted secrets of glass-making and to claim a monopoly on the industry. As a result, and quite by accident, this concentration of maestri or master glass blowers on this single tiny island created a rather competitive environment which resulted in very high quality glass and the development of new techniques and innovative ideas for glass decoration.

Venice and the Island of Murano

On Top of the World
The exportation of Murano glass became a major source of income for the Republic of Venice, and a major source of glass for all of Europe. By the 14th century the Venetians had reached the pinnacle of the industry enjoying a virtual monopoly on the glass market. No other country could even begin to compete with Murano glass – the Venetians alone held the secrets of making the most beautiful glass. It was inimitably transparent, luminous, sparkling, thin and light to the touch. It could be enameled, painted, tinted or colored (even mistaken for precious stones), engraved and fused, stretched and blown into a multitude of forms, decorated in infinite ways. It had ascended into the realm of a true art form, unsurpassable.

Murano glass chandeliers

Success and power, nevertheless, came at a price, and that price was shrewdly monitored by the rulers of Venice. Trade secrets were fiercely guarded by the Republic and craftsmen became veritable prisoners on the island. Although highly regarded in social circles and awarded privileges worthy of nobility, the maestri were regularly reminded by threat of death that leaving the island was strictly forbidden. A system of glass guilds was devised wherein each member was bound by a set of guild rules that set limits on production and distribution and provided detailed guidelines for sales transactions. Guild members took on specific roles involved in the production of the glass and this division of labor led to an increase in productivity and quality of work.

Murano glass lighting

Secret Ingredients
Although glass is an evolving art form in which each and every stage of the process contributes to the final beauty of a piece, the real secret of Venetian glass lies in the raw materials. The base ingredient is silica, the most common form of which is sand. While sand has the virtue of a relatively low melting point, it also bears the unfortunate fault of containing many impurities which discolor the glass. Production of transparent, colorless glass, called cristallo for its resemblance to rock crystal, was extremely difficult, and consequently, limited, expensive and highly sought after. This exquisite cristallo glass was and still is the basis of all Venetian glass design. To obtain perfect clarity of glass, the very best raw materials were needed. Ordinary sand was replaced by quartz pebbles called cogoli. These pebbles were repeatedly heated and dipped into cold water to remove impurities and then ground into a fine powder for melting.

Venetian glassblowers

The second most crucial ingredient to glass making is the fluxing agent. The fluxing agent enables the glass to melt at a lower temperature, thereby making it possible to melt glass in wood burning ovens made of clay. Venetians used a Levant soda ash called alume catino procured by burning plants from the Levantine region, and for which they held the sole monopoly.

Finally, manganese was added to the mix, which further inhibited colorization and had the added benefit of lengthening the time that glass would stay molten and pliable, allowing the glass workers more time and freedom to work on their designs. Once all the ingredients were mixed into a “batch”, the glass batch was heated, stirred and cooled repeatedly until just right. Once a perfect, crystal clear batch of molten glass was produced, it was passed on to the master glassblowers and glass cutters who then put their talents to work in search of perfection. Perfection, for the maestri, translated into the following: clarity of color, universal thickness, absolute symmetry and balance, and last but not least, a unique design. This required a steady hand and an artist’s vision. Once the glass piece was produced, it was then transferred to yet another guild of artisans who specialized in decoration and painting.

Venetian glassblower

Slow Decline
By the early 17th century, King Louis XIV of France had had all he could stand of the Venetians and their Murano glass monopoly. He successfully used his influence (and his money) to lure several fearless craftsmen to come work for him in Versailles and share their precious knowledge of glass. After that time in history, everything changed. The secrets were out and glass-making flourished all over Europe creating formidable competition for the Venetians.

By the early 19th century, Napoleon had conquered Venice and handed her off to Austria - now the Venetians were in real trouble. The Austrians, who favored Bohemian glass over Murano glass, severely restricted imports of raw materials to Venice making it almost impossible for many of the foundries to make glass. By the mid-19th century most of the glass shops were closed, with the few surviving ones reduced to making conteries or glass trading beads. In merely a few decades, the once revered culture surrounding the Murano glassblowers had completely disappeared from the island and the age-old techniques and recipes which the Venetians had preciously preserved for hundreds of years were practically forgotten.

Murano glass beads

Rebirth of an Ancient Art
Sometime later, things took a turn for the better. In 1854, six Italian brothers, sons of Pietro Toso, decided to open a new glass manufacturing company. The firm Fratelli Toso concentrated at first on domestic and pharmaceutical glass, but soon revealed they had much greater skills and even greater ambitions.

Fratelli Toso

In 1859 an industrious lawyer by the name of Antonio Salviati, arrived in Venice with an idea for a niche market: glass tiles to replace the old decaying mosaics all over Venice. His firm, Salivati dott. Antonio fu Barolerneo included the glass blower Lorenzo Radi – another artist aspiring to resurrect the traditional glass blowing techniques of the 15th century. Salviati’s skill at marketing his glass proved to be his true calling, and he quickly established new distribution channels in London and elsewhere after triumphant success at the London World Expo in 1862.

In 1864, Vincenzo Zanetti opened the Museo d'Arte Vetraria or Murano Glass Museum (which functioned as more of a school than a museum). He began teaching the lost glass blowing techniques that once made the Venetians famous. The Fratelli Toso made a magnificent glass chandelier for the inauguration of the Museum (still in place to this day) which some say marked the Venetians official re-entry into the glass blowing art industry. It was a spectacular work of art, reminiscent of Murano’s earlier years of glory.

By 1866, Venice was freed from Austrian rule and became a part of the Kingdom of Italy which further facilitated the production and expansion of the glass industry.

Museo d'Arte Vetraria

Modern Times
The reclaimed skills in glass blowing and the recent Art Nouveau influences of the time attracted all sorts of artist groups to Venice around the turn-of-the-century. During the first Biennale in Venice in 1895, artists from all over Europe came to challenge the maestri to stretch their talents and become “true artists” as opposed to just “artisans”. Informal artist groups were formed to generate new artistic ideas, and glass as an art form took off in all directions.

In 1921, Paolo Venini, a lawyer from Milan, and Giacomo Cappellin, a Venetian born antiques dealer also from Milan, founded a new company by the name of Vetri Soffiati Muranesi Cappellin Venini & C. Their focus was on modern glass design and although Venini had no glass blowing experience, he was a skillful entrepreneur and expert collaborator with an interest in architecture. Venini had a keen sense of taste and an eye for talent and successfully attracted the most gifted artists, including the likes of Scarpa, Ponti and Bianconi. The partnership ended in 1925, but Venini stayed on, changing the name of the firm to Vetri Soffiati Muranesi Venini & C. Joined by Napoleon Martinuzzi, a sculptor who developed the pulegoso technique in 1930 (the use of opaque glass), Venini began experimenting with controversial and unforeseen techniques that broke completely with tradition. Their fervor caught on all over Murano and soon many glass designers were following their lead such as Barovier, Seguso, Zecchin, and Fuga, just to name a few.

cobalt Murano glass vases

Threatened again by war in the 1940's, the industry managed to stay afloat and after World War II it was bustling again, bursting with pent up artistic energy, making the 1950's some of the most creative and innovative years the island of Murano has ever seen. Today, the works created during this time period are considered the most desirable by collectors and are in high demand. The Murano glass artists of that time collaborated with artists worldwide, including Pablo Picasso, Henry Moore and Jean Cocteau. They also served as mentors to the artists who started the American Studio Glass Movement in the 1960s, such as Littleton and Labino.

Labino glass piece

Vintage Murano glass can still be found with relative ease. If a quick trip to Murano isn’t feasible, then working with a reputable antiques dealer or auction house is a good place to start. If the price of vintage Murano glass is not in your budget, then look for more recent or even new Murano glass; the quality and the designs are still considered the world’s finest. And one look through the depths of this ancient art form and it will all become crystal clear… you are simply going to fall in love.

GLASS GLOSSARY

AVVENTURINA Clear glass with metal flecks, often copper, creating a shimmery, metallic look. The process is aptly named, as it means "adventure" describing the difficulty of working with this process.

CRISTALLO A very clear and pure, colorless Venetian glass.

FILIGRANA, RETICELLO, RETORTOLI Reticello is one of the most time-consuming and technical of Venetian color techniques. To create the reticello pattern, two twisted cane cups are fused together. The cups must be twisted in opposite directions, and the low spots between the canes act to trap air, creating the little air bubbles found inside each diamond of the resulting pattern.

FILO Decoration made by applying a thread - which can be of various thicknesses and colors - usually on the upper rim or on the base of objects such as vases, cups or glasses.

LATTIMO Opaque white glass produced for the first time in Murano during the first half of the fifteenth century, imitating Chinese porcelain.

MURRINE A glass technique first developed by the Romans and rediscovered in the late 1800's. Thin sections of glass rods are fused together and then blown, formed or molded into the desired shape. The rods are often designed to create a floral or geometric design

OPALINE Partly semitransparent milk glass that changes colors under different light.

PASTA VITREA A very difficult technique to master, in which a colored, opaque glass is made by adding clear or colored crystals to molten glass.

PULEGOSO Translucent glass characterized by innumerable bubbles ("puleghe") contained in the glass, obtained by chemical reaction during the heating process.

SOMMERSO A technique used to create thick layered objects by repeatedly dipping a piece into various crucibles of molten glass to form a multi- layered or multi-hued effect.

TESSUTO A multicolored, often striped glass made by fusing colored rods placed together in an alternating pattern and blown.

Holiday Shopping Card

2011-10-25T13:12:00.001-07:00

Support the American Cancer Society
October 28th - November 6th, 2011

Join us in supporting the annual Austin Holiday Shopping Card campaign benefiting The American Cancer Society. Purchase a $50 Holiday Shopping Card at Jean-Marc Fray Antiques and receive a 20% discount on any regularly priced item in our gallery - and at hundreds of other Austin area stores - from Friday, October 28 through Sunday, November 6, 2011.

For more information, contact us or go to the Holiday Shopping Card website.
__________________________________________________________________________________

Get your holiday shopping off to an early start,

and shop for a good cause!

La Traviata Goes Modern at La Fenice

2011-10-20T13:42:00.000-07:00

Our most recent buying trip in Venice was a huge success (incredible things arriving very soon!) but culturally inspiring as well. Not only were Jean-Marc and Jean-Noel tempted by the Biennale, Venice’s amazing biennial art exhibition held at the Giardini and the Arsenale and throughout Venice (running through November 27th), but “La Traviata” was playing at La Fenice and tickets were still on sale!

Entrance of La Fenice.

They lucked out and scored some tickets. It was opening night of Robert Carsen’s controversial “sex-and-money” version of Verdi’s La Traviata. A perfect Italian evening, resplendent in every way – here’s a glimpse of this iconic opera house and the surprising modern set of La Traviata:

Entering the Teatro.

Inside La Fenice.

Robert Carsen's modern set for La Traviata.

The "greenback forest" in La Traviata.

Inspired by Verdi's description of his opera as "a subject from our own time," Carsen turns Violetta into a prostitute from the 60’s, when sexual and social boundaries were collapsing. The sex-and-money theme carries through from start to finish, opening with men tossing dollars into Violetta’s hands as she reclines on an enormous bed. Act II takes place in a forest blanketed with dollar bills and the party scenes are gay and blatantly sexual – especially Flora’s party which takes place in a Vegas casino with cowboys and cowgirls in glittery costumes and bare bottoms!

Scene from Flora's party in La Traviata.

Cowgirl in Vegas in La Traviata.

Quite a show! We loved the mid-modern sets with touches of Art Deco here and there… stunning Murano glass chandeliers, silver-leafed furniture, and glamorous mid-century modern mirrored furniture.

Violetta's bedroom in La Traviata.

The auditorium at La Fenice is not hard on the eyes either, with its frescoed ceiling, its spectacular chandelier (an exact reproduction of the massive 12-branch bronze chandelier by Giovanni Battista Meduna, architect for the reconstruction of the theatre after a previous fire in 1836), and the dimly lit gold-leafed sconces that embellish the box seats and make for a very romantic setting indeed.

Box seats at La Fenice.

La Fenice chandelier.

Wall sconces at La Fenice.

A fitting introduction to this impressive theatre, as La Traviata made its world premiere here in 1853 and was the first opera production to open in the rebuilt Fenice in 2004. Bravissimo!

A History of French Styles: Empire

2011-10-13T11:37:00.000-07:00

Empire - 1805 to 1815

The Coronation of Napoleon Bonaparte Emperor of France

After many years of political instability, Napoleon Bonaparte crowned himself emperor of France in 1804. As the Empire period began, the economy boomed and a new haute bourgeois aristocracy who would desire fine furniture and decoration appeared.

French Empire Solid Mahogany Bergères

Empire furniture is usually large and architectural elements such as columns and pilasters are common. Mahogany and rosewood, as well as ebonized wood were quite popular. Furniture would be decorated with brass and ormolu and inlaid with ivory or mother of pearl. Upholstering was done with embroidered fabrics and heavy brocade, often in bold stripes. Strong symmetrical designs replaced ornate carvings and rounded romantic shapes. Chairs often had stiff, square or rectangular backs and animal claw feet.

French Antique Empire Walnut Gueridon

In its plainest form, Empire style is dignified and striking; however, furniture and decorative arts of the period are notable for exhibiting a confusion of motifs. Artisans of the time were still heavily influenced by classical Greek and Roman design. A Napoleonic campaign into Egypt brought back a desire for Egyptian motifs, such as sphinxes. Napoleonic symbols were used regularly, specifically the initial N, the emperor's monogram, and the bee (his emblem). Other design elements regularly found in Empire pieces are dolphins, swans, and mythical creatures.

Empire Style Brass and Crystal Chandelier

See examples of Empire style furniture in our inventory.

Mirror Magic

2011-10-03T13:57:00.000-07:00

Classic and elegant Louis XVI-style mirror with laurel wreath fronton, 23-carat gold leaf, and original mercury beveled glass.

What better way to add a little magic to a room than with a mirror? Mirrors offer their subjects light, depth, even drama, immediately setting a mood for any room they inhabit. Since their inception ages ago, mirrors have evolved from mere stone to glamorous sheets of silver-coated glass; they have served multiple purposes, as objects of contemplation in the East to coveted elements of decoration in the West, revolutionizing Renaissance painting along the way. Their impact on our world and our perception of the world is tremendous and most certainly cause for, well, reflection…

Louis Philippe Silver-Leaf Mirror

The Venetian Secrets

History’s earliest mirrors were inspired by the “magical” reflections that appeared in pools of water. Polished stones and horns were used wet to create the same effect. Ancient Greeks and Romans fabricated hand mirrors in highly polished bronze or copper. Some were made of tin, silver and gold.

Glass mirrors were most likely produced for the very first time in 100 AD, however, widespread production of glass mirrors did not occur until the 16^th century, mainly on the island of Murano (Venice, Italy), where glass-makers produced sheets of clear glass backed with an amalgam of tin and mercury. These “crystalline” mirrors were crafted out of hand-blown glass cylinders that were cut in half, flattened, polished and backed with mercury floated over tin foil. A special reflective mixture in which gold and bronze was added gave the Venetian mirrors a certain "magical quality” making everything look more beautiful than it actually was. Their unsurpassed quality fetched outrageous prices from royalty across Europe earning the Venetians a monopoly on mirrors for hundreds of years. It comes as no surprise that the mirror making techniques were fiercely guarded by the Doges of Venice, who forbade any of the glass makers to emigrate. Craftsmen were threatened with death by poisoning if they compromised their secrets. Consequently, a wave of industrial espionage erupted - perhaps the first recorded instance in history - and artisans and assistants alike succumbed to the temptations of bribery. By the mid-17^th century, Venetian mirror-making techniques had spread across Europe (Paris, London, Nuremburg…) and manufacturers, such as La Manufacture Royale des Glaces et Miroirs, founded in 1665 by France’s Minister of Finance Jean-Baptiste Colbert, were fully operational.

The Hall of Mirrors (Galerie des Glaces) is the central gallery of the Palace of Versaille

“Avant Première” in Versailles

The French, in particular, were astute students who learned quickly and started inventing techniques of their own. In 1682, poured glass was mastered in France by Bernard Perrot, a technique whereby molten glass was poured into large cast molds and rolled smooth with special rollers. Mirror-makers were now able to make sheets of glass, almost 3 times their previous size (up to 9’ long by 3’ wide)! Later that same year, King Louis XIV, (who had just settled into the newly renovated Château de Versailles) unveiled the much celebrated Gallerie des Glaces (or Hall of Mirrors) to the French public - its 357 stunningly beautiful mirrors were met with gasps and cries of admiration. It was a spectacular début for poured glass, and an event that marked the official “launch” of La Manufacture Royale des Glaces et Miroirs into the spotlight of fine French mirror-making (incidentally earning the French mirror factory a monopoly on mirrors for the royal court for the next 20 years…).

Venetian Mirror with Copper Mirror Frame

Survival of the Fittest

In the late 19^th century “argenture” or silver coating replaced the mercury amalgams used to make mirrors, thereby eliminating the grayish reflections typical of mercury glass and significantly reducing the cost to produce mirrors. Craftsmen started integrating mirrors into pieces of furniture, such as wardrobes and sideboards, and large mirrors appeared in the design and decoration of public spaces for the first time. The Venetian glass-makers suffered greatly during this period and in order to survive they had to get very creative in the decoration of their looking glasses. They fabricated more elaborate mirrors, adorned with Rococo scroll motifs, flowers, fruit vines, and leaf designs made of glass or etched into the glass panes themselves. Faceted mirrors, or Venetian mirrors framed with individually hand-cut, beveled and polished glass, became a Venetian trademark - exquisite and unique in their ability to catch and reflect light.

Sacred Objects vs. Decoration

The proliferation of mirrors in the Western world was due primarily to its role as a decorative object or as a tool of self-assessment and vanity. It is important to note, however, that in the Eastern part of the world, the mirror played a very different role: one of contemplation and spirituality. In the East, mirrors were never used as decoration or displayed on walls, but rather as instruments for gazing at the “mystical self”. Safely guarded in boxes or mounted on shrines, these sacred objects were thought to encourage the imagination and stimulate thought. Only small steel mirrors were used for grooming purposes, and were generally confined to bathing rooms.

Italian Antique Silver Leaf Mirrors

But who can deny the decorative power of a beautiful mirror? Its ability to create light and a sense of space is undisputedly without parallel. Magical, enchanting, even mesmerizing, mirrors were prized possessions not just for their fine glass, but for the beautiful and elaborate frames that surrounded them as well. Crafted out of exotic woods, marble, ivory, stucco and glass, the frames kept pace with the decorative trends of the times. They were hand-carved, gold-leafed, silver-leafed, painted, studded with precious stones or bits of glass. From Rococo mirrors, with elaborate floral motifs, cherubs and arabesques, to simple, yet elegant mirrors made under the reign of Louis Philippe, they were an integral part of each design period. Even their shape evolved with the trends – oval mirrors and round convex mirrors were popular throughout history and starburst mirrors made frequent appearances.

Spanish Gold Leafed Sunburst Mirror

Renaissance Revolution

But perhaps one of the most interesting facets of the history of mirrors is its catalytic influence on art and individuality. Filippo Brunelleschi, an accomplished 15^th century Italian architect, discovered the laws of one-point linear perspective thanks to a mirror and revolutionized painting forever. Leonardo da Vinci made frequent use of mirrors, calling them the “masters of painters” for their ability to render reality more powerful and vivid than could be seen by the naked eye. Furthermore, mirrors provided artists with a so-called “third eye,” without which history’s greatest self-portraits, such as those of the likes of Rembrandt or Van Eyck, would have never existed.

Portrait of a Man by Jan van Eyck

It is fascinating to note that the Renaissance concept of the individual (as separate from a group) developed about the same time and in the same place as the proliferation of mirrors. Although some might argue that religion, free will, or growing economies may have accounted for the separation of the individual from a wider group, mirrors, nonetheless, must have played a role in this progression since they allowed people to observe themselves very carefully in a new and introspective way.

An ornate mirror hangs in designer Rose Anne de Pampelonne's family’s Paris mansion

Today, mirrors have become an intrinsic part of our daily lives and an essential element in decorating. Both functional and beautiful, they brighten our rooms, dazzle our guests, satisfy us, challenge us and broaden our horizons in more ways than one. Antique mirrors, in particular, have a powerful effect on their surroundings. As historical objects of great beauty and symbols of tremendous wealth, coveted and exchanged by royalty, scrupulously maintained and protected over the years, they have the ability to transform a room; they exude luxury and opulence, and somehow are able to bestow that sense of inherent worth onto their environment – quite, one might think, by magic.

Central Texas Wildfire Fundraiser

2011-09-20T13:47:00.000-07:00

HELP THE VICTIMS OF THE TEXAS WILDFIRES

and get 20% off a Meredith Pardue original.


"Leaves in Yellow II" - 50" x 50" Oil on Canvas

~~$5000~~ $4000

100% of the proceeds will be donated to the

Central Texas Wildfire Fund.

Feel good about helping those in need and acquire an original work of art at an exceptional discount.

Thank you for your support!

Add a Touch of Luxury: Mirrors

2011-09-14T12:51:00.000-07:00

Add a touch of luxury to your home with mirrors. Mirrors reflect light to brighten and visually enlarge your space. The reflective surfaces add a little sparkle, and a lot of depth, to your design.

Image via Elle Decor

Expand your mirror vocabulary to include a wide range of mirrored pieces, including mirrored chests, table tops, and lighting. There are also a variety of mirror types to experiment with - try colored or antiqued glass, a multidimensional piece, or a convex mirror.

A mirrored chest adds a little glamour to the space.

Whichever you choose, you're sure to add a touch of luxury to your home by adding mirrors to your design. See a range of vintage and antique mirrored pieces here!

Summer Design Trends: Organic Shapes

2011-08-30T13:13:00.000-07:00

Rounded and flowing organic shapes are a hit this summer. Furniture, frames, and lighting fixtures with rolling curves and smooth lines will be perfect for this style. Showcase pieces that evoke organic shapes and stay trendy!

Make the trend:

Get the look:

1 Murano glass lamps by Seguso 2 French Art Deco side table 3 Murano glass sconces by Venini 4 Moustache back club chairs 5 Murano glass chandelier 6 Art Nouveau plant stand 7 Bombe chest of drawers 8 Louis Philippe gold-leaf mirror