Deutsche Kunst- und Antiquitätenmesse [Editor]: Die Weltkunst (4.1930)

Jahrg. IV, Nr. 48 vom 30. November 1930

WELTKUNST

11


Forthcomins Sale,;
The Claus A. Spreckels collection

New York, Sale: December 5 and 6
Äs a result of the decision of Mr. and Mrs.
Claus A. Spreckels to seil the Villa Ba-
ratier, their magnificent home on the Riviera,
many’ notable pieces of fine 18th Century
French furniture, sculpture and bronzes will
become available for other collectors. The
Villa Baratier has long been famous as the
home of a truly magnificent assemblage of
furniture, paintings and decorations, including
a long array of items of the finest museum
quality, all enjoying the added merit of having
been maintained in beautiful condition, due
to the continuous use and expert care of the
important private collectors who owned them.
The contents of the Villa, including the deco-
rations, will be dispersed at auction at the
American Art A s s o c i a t i o n - A n -
derson Galleries on December 5 and 6.
The decorations of the Villa Baratier
included fine Chinese and European porce-
lains, important K’ang-hsi red lacguer panels,
and the complete 18th Century French boi-
serie of the main salon and chief bedroom,
all of which will be included in the sale, as
well as the paintings.
Among the outstanding signed pieces of
furniture is the magnificent margueterie com-
mode by Jacques Pierre Latz, to any of the
handsome Regence commodes in the Mobi-
lier National or the famous Wallace collection.
The piece in the collection, made in the se-
cond quarter of the 18th Century, has a bombe
front with two drawers, the Serpentine lines
of the drawer fronts being particularly fine.
The splendid mounts on this commode are
attributed to Gouthiere. Another signed piece,
by the famous ebeniste Maurice Kopp, is a
commode enriched with margueterie designs
including groups of garden flowers, urns and
meanders on cifronnier and satinwood
grounds. Bearing the full, impressed marks
»C. Topino, M. E.« ist the magnificent secre-
taire ä abattanii by Charles Topino, about
1780, with its remarkable globes in marque-
terie on the returns, which also show the
outlines of the American Continent and bear
the inscription »Pacifique Ocean«. Pieces of
his creation and bearing his signature are in
the Palais de Fontainebleau, and in the
Doucet and Alphonse Kann collections. A
sei of four armchairs in the collection are
also of great importance. These are by
Nicolas Blanchard and have Beauvais tapestry
covering, superbly designed and showing
fmely woven flower-filled urns by Monnoyer.
A rare item is the mahogany extension dining
fable ot the Louis XVI Period, an outstanding
example of the second period of Jean Henri
Riesener’s work (1734—1806). The fable top
forms a remarkably fine broad oval when not
extended, being composed of two demi-lune
consoles.
There are numerons delightful commodes
of the Louis XV and XVI Periods. Represen-
tative is the marqueterie commode, early
Louis XVI, signed, but with the signature un-
decipherable. It presents an interesting
example of the transition from the Louis XV
to Louis XVI Periods. The collection abounds
in handsome example of the Louis XV
and XVI marqueterie fable in many forms,
including tihe writing fable, screen fable, and
small work fable; the commode and the small
commode; the fable de chevet; the chiffonier
coiffeuse; the chiffonier gueridon; the secre-
taire of various types; the banquettle; the
armchair and the settee. The margueterie
pieces are all notable for the beauty of their
design and merit of execution. Selected at
random, to supply an idea of the furniture as
a whole, are the following: The very desirable
carved and painted armchairs of the Louis XVI
period, about 1780, with fine pavot needle-
work, of which five occur in the first session,
followed by a small settee, also of the
Louis XVI Period, en suite with the chairs.
Another chair in the group of fine tapestry
and needlework chairs of the 18th Century
is a carved walnut Savonnerie armchair from
the Royal Gardemeuble, the frame about 1730
and the covering of the early 19th Century.
Among the larger pieces is a superb armoire,
which might be used for a bookcase, of the
Regence period, of fine proporfions, made of
rieh mahogany and with finely designed
mounts of gilded bronze. A secrefaire ä
abattent of the Louis XVI Period is of very
original design, the inferior having compart-
ments and six drawers. Among the char-
ming small pieces is the tulipwood gueridon,
with trefoil shaped top, having an old Sevres
porcelain insert picturing two cupids sporting
in the clouds.
Various fine French beds enrich the collec-
tion, including two carved, gilded and deco-
rated fester beds, Lorraine, Early Louis XVI
Period, and also very interesting examples
of the French lit de repos. Included in the
latter are a carved and gilded example of the
Regence Period, early 18th Century, which is
one of the many items in the collection
from Jacques Seligmann and the very im-
portant carved and gilded lit de repos, also
of the Regence Period, early 18th Century,
and also from Seligmann. This piece is

really magnificent, the back crested by love-
birds in cartouche, the returns showing boldly
carved branches, the carving very fine and
showing a master hand. Very interesting is
the wrought iron lit de repos or field bed,
about 1795, an exceedingly graceful example
of the Directoire, in the form of an attenuated
lyre, the two ends exceedingly gracefully
curved.
Sculptured pieces include the Nymph
Erigone, in fine white marble, showing the
young Bacchic maiden wearing a floral gar-
land and perched upon the back of a prancing
goat, inscribed »P. Julien 1781«. This fine
work by Pierre Julien, one of the most re-
nowned 18th Century sculptors and pupil of
Coustou, was exhibited in 1781 in the Salon.

Guillaume Coustou himself has a pair of terra
cotta Bacchic Satyrs in the collection. Nearly
related works by Coustou are at Versailles.
The catalogue shows Antonio Canova’s
beautiful Madonna and Child, in fine Carrara
marble. It bears the signature »A. Canova«.
Of interest in the group of fine bronzes is
»Nessus and Dejanira«, the work of Gian-
bologne. A pair of bronze statuettes.

The problem of "expertise" and the part it
plays in the art-market is to-day more acute than
ever. We therefore publish in the following pages
(in continuation of No39and 43) letters and articles
which we hope may help to clear-up some of the
more salient points of this complicated problem.
The editor
Dr. A. Lapp-Rottmann:
(A reply)
In answering my article in the "Kunst-
auktion", „Expertise and the art market“,
Professor Max J. Friedländer has taken up
my arguments from a somewhat different
stand-point to the one I intended. In Order
to prevent the discussion following false
haus, I must endevour to correci some
details:
I did not propose that the “expertises”
of particular prominent art experts should be
subject to examination and revision, as to
the practica! or scientific value of their con-
tents, by a committee of experts, or in any
way replaced by such an institution. Nothing
was further from my fhoughts than that the

»Baigneuses«, the work of Etienne Maurice
Falconet, and a pair of oval bronze medaillons
by Claude Michel (»Clodion«), from the
succession of Eugene Kraemer, 1913, are
signed.
Among the decorations of the house to
be sold is a fine group of lacquer screens
and lacquer doors, all K’ang-hsi, and inclu-
ding a highly important twelve-fold Coro-
mandel lacquer screen, painted on the front
and the reverse, the front in two tiers with
gardens, pavilions, and a multitude of spiri-
ted figures, the backs of the panels bearing
signatures and a wealth of floral decoration
(see reproduction).
The boiserie of the grand salon and of the
main bedroom, and the marble mantel have
also been removed from the Villa and will
be disposed of. This carved, painted and
gilded boiserie of the early Louis XV Period
is of outstanding importance for its harmo-
nious proportions of fine design. The carved
Brescia and Languedoc marble mantelpiece
of the Regence Period was furnished by
Rateau of Paris, and formed the chimney
piece of the grand salon.
Among the interesting tapestries in the
sale will be a set of three panels after Car-
toons by Vernet, depicting scenes from the
Provence.
Formerly the property of the dowager
Duchess of Manchester are the five important

marine paintings by Lacroix de Marseille, also
removed from the walls of the inferior of the
Villa.
The house contained a wealth of smaller
decorative objects, all of which will be sold,
including the fine porcelains. The Chinese
porcelains are particularly rieh in five-color
examples and in Imperial yellow and tur-
quoise-blue in the single-color dass.

experts, with their knowledge, personal gifts
and scientific qualifications, should be re-
placed by a species of collective objectivity
and anonymity.
Wihat I did discuss, were the suppositious
or actual abuses, the errors due to careless-
ness, extra-scientific influences, which, here
and there, are supposed to have affected the
verdict about a work of art. I referred to
events, which magnified by gossip, are
whispered around, and which cannot be
examined or cleared-up by some respons-
able body (for the reason that such a body
does not yet exist), and which not only
damage the scientific authority of particular
persons but affect the authority of all the
experts. In this Connection, I should like to
refer to the actions of some art savants and
museum’s officials — transactions which,
quite impersonally undertaken and not for
gain, appear to the outsider, especial when
he feels himself affected, nevertheless
without the province learned activity: not to
say, actions unworthy of the Position occu-
pied.
The close co-operation between the art
trade and the art experts has, so to say,
somewhat blurred the dividing line between

»Expertise«


Coromandel-Lack-Schirm, K’ang-hsi, 12 teilig
Ecran ä laque Coromandel, K’anghsi, divise en 12 parties —- Two-fold coromandel lacqued
screen, K’anghsi
288 : 570 cm — Collection Claus A. Spreckels
Versteigerung — Vente — Sale:
American Art Association Anderson Galleries, New York
5. — 6. Dezember 1930





trade and Science. And though one cannot
reproach the dealer for seizing his oppor-
tunity, naturally it is obvious that the moment
Science loses its independance and objecti-
vity and considers, or is subservient to, the
interests of trade, its supreme authority is
gone.
An institution, which would be in the Posi-
tion to examine cases of careless error, or
unprofessional behaviour, and, when necess-
ary, pass censure, is naturally not called on
likewise to correct, or dis-allow, learned
„expertises“, which are the product of an
individual’s knowledge or research.
It is not the “expertises” which should be
subject to examination by such a society of
art savants, but, when necessary, how th:y
were produced, and in what circumstances —
it is not the contents, but the procedure,
which should fall within such a body’s pro-
vince.
Consequently, a court of a society of art
experts would be concerned solely with

The whole art world reads the
«WELTKUNST»
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abuses, which damage the reputation of the
calling; and, as, owing to its composition, it
would have at its disposal, not only know-
ledge, but authority, few people would
seriously consider ignoring a court of exam-
ination set up by the society. In any case,
such a procedure would be the surest way
to discredit oneself, and consequently it is
more likely that a person should himself
demand a court of examination, to secure
himself against the risk of suspicion, than
that he should run the danger of "judicatio
in contumaciam” by ignoring the findings of
such a society.
Professor Kötschau:
.1 must say that I, personally, am not
in sympathy with the way „expertise“ iias
expanded, and even though 1 certainly hold
that the purely scientific methods of exam-
ination should play a very important part,
yet, all the same, they alone are not capable
of replacing those qualities which a Connais-
seur must be born with before permitting
himself to ennounce a judgement about a
work of art.
Professor Fr. Winkler:
Dealers are fortunately not in the Position
of the budding magician, who could not dis-
miss the spirits which he had called up. The
art trade can quite well dispose of the dan-
gers inherent in the increased commercial
and scientific activity, if it only will. I should
like to issue a warning though, against over-
estimating the importance of the problem of
“expertise”. I, personally, belieye that the
desire of the public for "expertise” is a
passing Symptom — though where important
and valuable objects are concerned the opi-
nion of experts will always be in demand.
Dr. J. Stransky, New York:
Dr. Gold has also joined in the discussion
on “Expertise”, and, in an article of some
length, replied to Professor Friedländer.
Dr. Gold confessed to me that he has not
occupied himself much with ancient art, but
that he knows a great deal abouf french art
of the 19th Century. May I be allowed to
address myself directly to Dr. Gold here?
Dear Dr. Gold, how do you propose to
scientifically prove to me by means of an
“expertise” the genuineness of the Gauguin
you sold me? Because you are honest, you
will be obliged to teil me that judgement is
the result of experience, a good eye and a
certain feeling, but that direct demonstration
is impossible. One has only to think of the
wearisome and useless examination of
evidence in the Wacker case.
Such an important authority as Professor
Friedländer is not going to give an expert
opinion lighily. He will study a picture, and
his incomparabte experience, combined with
his astounding memory, will enaible him io
deliver a verdict. In doubtful cases he
declines to make an attribution. Clear cases
need no supporiing arguments. When con-
troversies arrise, a real expert will never
lack arguments in support of his attribution,
but to indulge in protacted argumentaiion of
proof where no shadow of doubt has yet
arisen, would be needless waste of time.
Moreover, one ought to be thankful that
a man of Professor Friedländer’s calibre is
ready to give a disinterested opinion of a
work of art. What would happen, should
he suddenly wilhdraw his friendship from the
dealens and collectors? What peinful situa-
tions might not arise?
If only people would refrain from criticism
in the wrong place! For example: In what
bad laste and how unjust it was of some of
the art critics to write as they did about
the collection, now on exhibiiion, of Baron
von Thyssen. Did they desire to einbitter
such a first dass collector, when we have
so few such now-a-days? Who did they think
that would profit? German artistic life? Now,
when the one thing it needs is a little peace!
One should try to bui'ld up, and not destrov
through such unnecessary controversies and
thoughtless critlicisms.