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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 fcg Order Number 1345754 The Salon Dord from the Hotel de Clermont Brewster, Edith Hutchinson, M.A. The American University, 1991 Copyright ©1991 by Brewster, Edith Hutchinson. All rights reserved. UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 mil:am=: .. __ THE SALON DORE FROM THE HOTEL DE CLERMONT by Edith Hutchinson Brewster submitted to the Faculty of the College of Arts and Sciences of the American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Arts Management Signatures of Committee: Chair: i j a j u ^ 6. Dean of(the College IS dujuuiJ- Date * 1991 The American University 7335- Washington, D.C. 20016 THE AMERICAN UNIVERSITY LIBRARY © COPYRIGHT by EDITH HUTCHINSON BREWSTER 1991 ALL RIGHTS RESERVED THE SALON DORlS FROM THE HOTEL DE CLERMONT BY Edith Hutchinson Brewster ABSTRACT The Corcoran Gallery of Art acquired the Salon Dor6, an eighteenth-century French room, from William A. Clark, a senator from Montana, in 1926 as part of a bequest that included European art and furniture as well. The Salon Dore originally came from the H6tel de Clermont, located at 69 rue de Varenne in the fashionable seventh arrondissement of the Faubourg Saint-Germain in Paris. Louis XVI ascended the throne in 1774, and the Salon Dore is a conscious expression of the neo­ classical style known by his name. This was the time of the Enlightenment, when the ideals of liberty and democracy were appealing to a large segment of public opinion both in France and in America through the writings of Diderot, Voltaire, and Rousseau. The destinies of the two nations were becoming linked in the common cause of social renewal. The neo-classical style chronicles the artistic response to the Enlightenment. The Salon Dore attests to the cultural ii condition of France at the time America was emerging in part through French encouragement. This paper examines the ornamental decor, the provenance, and the authenticity of the Salon Dore through a careful analysis of archival material, family inventories, personal interviews with curators, original photographs, and a thorough examination of the chronology of the Hotel de Clermont as seen through carefully researched monographs by three French scholars. The conclusion reached is that although recomposed by Senator Clark, the Salon Dore nonetheless illustrates the ideals of neo-classicism. Senator Clark succeeded in capturing an outstanding example of Louis XVI French interior architecture. iii PREFACE The Salon Dore came from the Hotel de Clermont, an hotel particulier located near the Church of the Invalides on the rue de Varenne in Paris. It was designed by Alexandre LeBlond in 1708-1714 in the classical idiom of the time of J. H. Mansart. Fifty years later, in 1768, under the new ownership of the Comte d'Orsay, a young military officer who gained fortune and became a private arts patron of unrivaled scope, the Hotel Clermont underwent a major renovation which was to last twenty years, as the count traveled repeatedly to Italy, returning with paintings and sculpture representing the beau ideal of the Ancients. D'Orsay transformed a boudoir facing the garden into the latest fashion, incorporating the principal decorative elements of Louis XVI who ascended the throne in 1774. This sumptuous room became known as the Grand Salon, and was bought in 1904 by Senator William A. Clark and installed in his townhouse in New York with several modifications. When he bequeathed it to the Corcoran, there were few alterations, and the room now known as the Salon Dord remains an important testament of the neo-classical style associated with the period of Louis XVI. In the Salon Dore, architecture and history blend together to create an interesting story. Newly available archival materials, recent photographs, and personal interviews present new insights into the interpretion of the Salon Dore as it emerges from its fresh restoration. The value of study rests in the testimony the room presents as an authentic representation of the neo-classical ideals of the time. Although not pristine, the room presents the cultural conditions of France when Thomas Jefferson and Benjamin Franklin served as ministers in Paris. Jefferson was immensely influenced by the political symbolism of the style, and brought back to America a neo-classicism which was to portray our own republicanism. The State Capitol at Richmond of 1785 was the first neo-classical building in the World.1 "Noble simplicity" had crossed the seas, and it set the style for public buildings in this country, particularly in Washington. 1Personal interview with Dr. Theodore Turak of American University, June 13, 1991. ACKNOWLEDGMENTS It has been a pleasure and a joy to research The Salon Dore from the Hdtel de Clermont during the past year both in Washington and in Paris. I should like to thank the individuals who so generously gave both their expertise and time to a student who professes more enthusiasm than scholarship. I am very grateful to Dr. Theodore Turak of The American University for his interest in the idea and for generously sharing his knowledge with me. Hugh Newell Jacobsen, FAIA, stimulated my interest in French architecture of the eighteenth century during his restoration of the Hdtel Talleyrand. I am grateful to the staff at the Corcoran Gallery, particularly to Dare Hartwell, the conservator of the Corcoran Gallery of Art, for her careful reading and useful suggestions throughout. Others who facilitated my research include Barbara Dawson, Cindy Rom, and Julie Solz, and also Barbara Moore and Barbara Mateo, who first introduced me to the Salon Dore when I was a docent. Information concerning the dimensions and decorative details of artworks comes from the Registrar's office. In Paris, I was privileged to discuss the Hotel de Clermont with Robert Carlhian, who worked on the restoration of the interiors at the Hotel Talleyrand; Jean Ferey, author of the magnificent Architecture interieure et decoration en France des oriaines a 1875. Jean-Frangois Mejanes, conservateur au Cabinet des Dessins at the Louvre; and Michel le Moel, Conservateur General aux Archives Nationales. I am grateful to Ambassador and Madame Emmanuel de Margerie for their enthusiastic encouragement. Michel Durafour, Ministre de la Fonction Publique et des Reformes Administratives, very kindly permitted me to photograph the Hotel de Clermont. The Friends of Vieilles Maisons Frangaises both in the United States and in Paris were consistently helpful in their support and personal introductions. I should also like to thank Marina Brachet, President of the Washington Chapter of FVMF, and Nick Martin of the National Gallery for their help in translation and interpretation. TABLE OF CONTENTS ABSTRACT ii PREFACE iv ACKNOWLEDGMENTS vi LIST OF ILLUSTRATIONS viii Part I. THE SALON DORfi 1 Ornamental Decor Ceiling Wood Panels Overdoor Panels Doors Comparisons Neo-Classical Style Furniture of the Louis XVI Period Furniture of the Salon Dore Highlights From the Clark Collection II. THE H6TEL DE CLERMONT .................... 62 Faubourg Saint-Germain Rue de Varenne H6tel de Clermont, Architectural Style Le Jardin The Architect H6tel de Clermont, Present Day Pre-Revolutionary History of the H6tel de Clermont Biography of the Comte d'Orsay D'Orsay's Early Collection D'Orsay's Later Collection Post-Revolutionary History of the Hotel de Clermont Biography of Senator William A. Clark Clark's Collection APPENDICES ..................................... 172 Inventory, Revolutionary Seizure, 1793 Adjudication, Barbet de Jouy, 1841 BIBLIOGRAPHY ................................... 194 LIST OF ILLUSTRATIONS Figure Page 1. The Salon Dore at the C o r c o r a n ............ 2 2. L'Hdtel de Clermont, garden fagade ........ 2 3. Map of Paris (Michelin).................... 3 4. Original floorplan, Clermont .............. 4 5. The Salon D o r e ................. 6 6. Ceiling mural by Hugues Taraval ........ 9 7. South medallion of ceiling mural .......... 9 8. Etching of Hotel de Clermont, 1898 14 9. Wall trophy, Salon D o r e ...................... 15 10. Salon Dore overdoor p a n e l ..................... 18 11. Salon Dore door p a n e l s .......... 20 12. Salon Dore door p a n e l s ....................... 21 13. Hdtel Talleyrand door panels ............... 22 14. Hotel Talleyrand door p a n e l ............ 23 15. Hotel Talleyrand door panel ................. 24 16. Hotel Talleyrand boiserie ................... 2 6 17. Hdtel Talleyrand arabesque panel ..... 27 18. Hotel Talleyrand overdoor panel .......
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