DOI Heft:
Nr. 341 (October 1925)
DOI Artikel:Baxter, Leonora R.: Art in everyday live
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19986#0080
mceRnAcionAL
ART IN EVERYDAY LIFE LE0N0RA
R. BAXTER
■7~~\obert
/V positic
seventeenth century spanish bed
Courtesy oj [be Pomposa Company
T
obert Adam was of a Scotch family of good social
ion, and Robert early showed a talent for draw-
He was ambitious and decided that he could
only attain his ideals by study and travel in Italy. He
returned to England in 1758, with his classical taste firmly
established, and destined to be one of the important influ-
ences of the eighteenth century. He went into partnership
with his brother James, and together they became the most
noted architects of their day. The list of their buildings is
long and interesting, and much of their architectural and
decorative work is still in existence. Perhaps it seems like
putting the cart before the horse to suggest that Adam
influenced the style we call Louis XVI, but in the transi-
tional period between Louis XV and Louis XVI, the beau-
tiful Adam style, well developed just across the Channel,
was greatly in demand in France, and the two have so much
in common that Louis XVI furniture may be used in an
Adam room with perfect fitness. Adam usually designed
his furniture for the room in which it was to stand, and he
often planned the whole house, even down to table silver
he romantic lure of Spain enhances with time, and and door-knobs. In whatever he did, one feels the surety
modernists are keenly interested in acquiring bits of of knowledge, and the refinement of good taste, led by a
beauty which lend to present-day life some of the high ideal. Philip Suval is the fortunate owner and exhibits
atmosphere and charm of that enchanting country. Espe- in his art shop a pair of original and rare Adam wine
cially fitting as a background for wealth is the Spanish cellars, one of which is illustrated here. They are of
interior, with its great uncluttered spaces, and air of quiet mahogany, sixty-eight inches high, and twenty inches
grandeur. The rooms of Spanish mansions are of simple square. The edges are fluted, and front and sides are
structure—wide stretches of white wall are appreciated carved with trellis ornamentation and urn designs. The
for the decorative contrast to rich hangings of damask, pedestals are fitted with zinc-lined cupboards, and sur-
tapestry or velvet. With few accessories is achieved a mounted with finely shaped Greek urns, used as wine
dignified interior of distinct personality. Of much im- coolers. These wine cellars were part of a famous collection
portance is the Spanish bed, and authentic examples are of original Adam furniture and were sold for a small fortune
eagerly sought. The one portrayed is owned by the Pom- at Christy's in London,
posa Art Trading Company of New York, and comes
straight from the palace of the Marques de Villaireja in
Madrid. It is particularly interesting because it was taken
from the boudoir of the Donna Pomposa (daughter of the
Marques), who is now President of the Pomposa Company
and is proving that aristocrats of the old world, as well as
the new, can make good in business. This bed is six feet
long by three wide, and is of Catalonian origin, showing
French influence of the late seventeenth century. The wood
is probably walnut, and the finish is polychrome. The old-
gold floral designs are surrounded by bands of green, upon
a background of dull Spanish pink. The spread is soft rose
damask of the same period and strikes a final note of
sumptous beauty. Incidentally, it is amusing to recall that
Spanish ladies of high degree were never quite so comfort-
able as when in bed. Ladies were not supposed to recline
in public—if not well enough to sit upright in a straight
back chair or on a stool without a back, they remained in
bed, in the privacy of the "alcoba," which is synonymous
with bedroom. The day-bed was frowned upon by the rigid
Spaniard, even under the influence of the lax Bourbon
regime, and, in fact, it is still despised by the old-fashioned
aristocracy. Of interest to collectors is the announcement
that the Pomposa Art Trading Company will open addi-
tional galleries in October. In this Spanish patio one will
find the cream of Spanish lurniture, each piece enhanced by adam
yomantic association and the mellowing touch of time. wine
The only reproduction will be the chimney-piece, copied cellar
exactly from one in the home in Toledo Spain of EI Greco, ofphilip
the famous Spanish painter. _| Suval
eighty
october I925
ART IN EVERYDAY LIFE LE0N0RA
R. BAXTER
■7~~\obert
/V positic
seventeenth century spanish bed
Courtesy oj [be Pomposa Company
T
obert Adam was of a Scotch family of good social
ion, and Robert early showed a talent for draw-
He was ambitious and decided that he could
only attain his ideals by study and travel in Italy. He
returned to England in 1758, with his classical taste firmly
established, and destined to be one of the important influ-
ences of the eighteenth century. He went into partnership
with his brother James, and together they became the most
noted architects of their day. The list of their buildings is
long and interesting, and much of their architectural and
decorative work is still in existence. Perhaps it seems like
putting the cart before the horse to suggest that Adam
influenced the style we call Louis XVI, but in the transi-
tional period between Louis XV and Louis XVI, the beau-
tiful Adam style, well developed just across the Channel,
was greatly in demand in France, and the two have so much
in common that Louis XVI furniture may be used in an
Adam room with perfect fitness. Adam usually designed
his furniture for the room in which it was to stand, and he
often planned the whole house, even down to table silver
he romantic lure of Spain enhances with time, and and door-knobs. In whatever he did, one feels the surety
modernists are keenly interested in acquiring bits of of knowledge, and the refinement of good taste, led by a
beauty which lend to present-day life some of the high ideal. Philip Suval is the fortunate owner and exhibits
atmosphere and charm of that enchanting country. Espe- in his art shop a pair of original and rare Adam wine
cially fitting as a background for wealth is the Spanish cellars, one of which is illustrated here. They are of
interior, with its great uncluttered spaces, and air of quiet mahogany, sixty-eight inches high, and twenty inches
grandeur. The rooms of Spanish mansions are of simple square. The edges are fluted, and front and sides are
structure—wide stretches of white wall are appreciated carved with trellis ornamentation and urn designs. The
for the decorative contrast to rich hangings of damask, pedestals are fitted with zinc-lined cupboards, and sur-
tapestry or velvet. With few accessories is achieved a mounted with finely shaped Greek urns, used as wine
dignified interior of distinct personality. Of much im- coolers. These wine cellars were part of a famous collection
portance is the Spanish bed, and authentic examples are of original Adam furniture and were sold for a small fortune
eagerly sought. The one portrayed is owned by the Pom- at Christy's in London,
posa Art Trading Company of New York, and comes
straight from the palace of the Marques de Villaireja in
Madrid. It is particularly interesting because it was taken
from the boudoir of the Donna Pomposa (daughter of the
Marques), who is now President of the Pomposa Company
and is proving that aristocrats of the old world, as well as
the new, can make good in business. This bed is six feet
long by three wide, and is of Catalonian origin, showing
French influence of the late seventeenth century. The wood
is probably walnut, and the finish is polychrome. The old-
gold floral designs are surrounded by bands of green, upon
a background of dull Spanish pink. The spread is soft rose
damask of the same period and strikes a final note of
sumptous beauty. Incidentally, it is amusing to recall that
Spanish ladies of high degree were never quite so comfort-
able as when in bed. Ladies were not supposed to recline
in public—if not well enough to sit upright in a straight
back chair or on a stool without a back, they remained in
bed, in the privacy of the "alcoba," which is synonymous
with bedroom. The day-bed was frowned upon by the rigid
Spaniard, even under the influence of the lax Bourbon
regime, and, in fact, it is still despised by the old-fashioned
aristocracy. Of interest to collectors is the announcement
that the Pomposa Art Trading Company will open addi-
tional galleries in October. In this Spanish patio one will
find the cream of Spanish lurniture, each piece enhanced by adam
yomantic association and the mellowing touch of time. wine
The only reproduction will be the chimney-piece, copied cellar
exactly from one in the home in Toledo Spain of EI Greco, ofphilip
the famous Spanish painter. _| Suval
eighty
october I925