Friday, September 28, 2007

Château de Caladroy




The Languedoc–Roussillon region of France runs along the Mediterranean coast, from the Pyrénées along the southern border with Spain, to the Rhône and neighboring Provence in the east. The area is blanketed with some 170,000 hectares of vineyards and produces nearly a third of the country's grapes. It is a region that has been producing wines - some of France's best wines - since vines were first planted in the 5th century B.C.


Near the town of Perpignan, in the arid hills of the southernmost part of Roussillon, lies Château de Caladroy, once a 12th-century fortress on the kingdom of Majorca's frontier and, for roughly a hundred years now, a small and relatively unknown winery. The château, begun in the late-19th century and built within the fortress walls, functioned as a tiny, self-contained city, with separate living quarters for estate workers, stables, a school and a chapel.













In about 1920, Château de Caladroy began bottling its own wines, but a devastating fire in 1923 essentially halted all production, delaying success by decades. The structures have long since been restored to working condition, but only recently have they been given a more worthy renovation, thanks to owner Michel Mezerette and estate manager Serge Maurin. Today the site serves as a unique example of a layering of medieval-through-modern architecture, constructed as needed in order to remain operable for nearly a thousand years.



Prior to the fire, the château extended along the hilltop above the olive orchard. In the distance is one of the 12th-century towers of the original fortress.



The château, nearing completion, 1902



The fall harvest, 1903











With its prime location on the Fenouillèdes hills, nearly 1,000 feet above the Mediterranean, Château de Caladroy's vineyards are continually buffeted by the warm Tramontane winds that sweep down from the mountains. The resulting wines have consistently earned high marks for their intense fruit flavors and subtle, herbal nuances. This January, Wine Spectator wrote of the 2004 Côtes du Roussillon-Villages Cuvée Saint Michel, "Ripe, rich and concentrated, with lovely raspberry, dark plum and cassis flavors. Fine-grained tannins, with luscious spice notes. Balanced and structured with a lilting finish of granache and thyme. - 88 points" Not bad for a vineyard whose wines run about $12 a bottle.


Today the vineyards have been extensively replanted, primarily with Grenache, Syrah, and Mourvèdre grapes, but with yields of only about 25hl/ha, they remain far below the allowed 45hl/he. In 2001 the cellar was completely renovated, enabling vintner Jean-Philippe Agen (one of a recent influx of young winemakers to the region's estates) to make some terrific wines -- from Les Schistes to the Syrah-based La Juliane, to Le Saint Michel, a Mourvèdre-based cuvée. To round out the estates overall production, they also sell olive oils and jams made from (you guessed it) grapes.






But of all the treasures and surprises at Château de Caladroy, the chapel, which survived the 1923 fire, is by far the most charming. Built at the end of the 19th century, it is a quirky, if not awkward, composition of popular styles: Its Romanesque Revival exterior features low, heavy brick arches and double windows; the marble balustrade and altar are carved in a Renaissance Revival style and the wood paneling in the apse is Gothic Revival. The most modern flourish was the decoration of the stained glass windows, done in stile floreale, Italy's answer to Art Nouveau.












At Château de Caladroy, visitors will find lessons not only in vinification, but the Mediterranean climate and geography, and thousands of years of history, architecture and design. What they'll also find is a lesson in survival and the spirit of endurance, which has reigned so long at this tiny, frontier vineyard.


Château de Caladroy
66720 Belesta de la Frontiere
www.caladroy.com

Tuesday, September 18, 2007

A Queen's Belongings

Marie-Antoinette and the Petit Trianon at Versailles:
Contents of the Queen’s Private Retreat on Display
at the Legion of Honor in San Francisco
November 17, 2007–February 17, 2008



Elisabeth Louise Vigée Le Brun (1755–1842) Marie-Antoinette "a la rose," 1783. Oil on canvas. chateau de Versailles



Mysteries, myths and legends surround Marie-Antoinette. The stories of her extravagances and excesses, many of them half-truths or exaggerations, ultimately unseated the French monarchy, imprisoned the royal family for years and finally sent them to the guillotine. An exclusive exhibition at San Francisco’s Legion of Honor uses the contents of the Petit Trianon, Marie-Antoinette’s private residence, to look behind the 200-year-old myths and discover concrete evidence of the personal preferences of Marie-Antoinette and how they led to the creation of some of the finest decorative arts of the 18th century. This is the first time the contents of the Petit Trianon have been shown together in an exhibition outside of France. The Petit Trianon is being restored and remodeled, allowing this once-in-a-lifetime opportunity for an American museum to stage this kind of an exhibition.




Entrance front of the Chateau de Petit Trianon



The Petit Trianon is a small château on the grounds of Versailles that served as the queen’s private retreat. Here, the queen could relax in her own home, far away from the constraints of her regimented life. At the Petit Trianon she could choose objects and decorations that reflected her personal style, rather than opting for the taste imposed by the social demands and traditions of the royal court at Versailles.



The Interior of the Petite Trianon

The interior of the château reflects the personal taste of the queen with its reoccurring floral motifs in furniture, fabric and porcelain. Marie-Antoinette was often connected with the love of flowers, and she chose the images of roses (symbols of her Austrian Hapsburg family), pansies (representing royalty), and cornflowers (her favorite flower at the Petit Trianon) to decorate the royal dinner service at the château.




Chair from the Belvedere Pavilion, 1782, Francois Foliot II (1748–after 1808), carved and gilded beech, modern upholstery, musée du château de Versailles



Plate from the “Pearl and Cornflower” Service made for Marie Antoinette, 1781 Royal Porcelain Manufactory, Sevres, porcelain, musee du chateau de Versailles



Her private study, with its famous mirrored shutters designed to keep out prying eyes, was lined with delicately carved and painted paneling showing white trophies hanging from ribbons on a pale blue background. “These panels are the essence of the style associated with Marie-Antoinette: restrained in form, yet rich in detail, and executed with consummate craftsmanship,” says Martin Chapman, Fine Arts Museums Curator of European Decorative Arts and of the exhibition.



The Cabinet of Moving Mirrors, Petit Trianon



Marie-Antoinette’s bedroom was called the “Trellis Bedroom,” named for the distinctive design of the furniture, some of the most original ever conceived. Bonnefoy du Plan oversaw the creation of the pieces featuring painstakingly painted or carved trellis and basketwork, floral forms and rustic garlands. The furniture is called “wheat-ear” furniture, named for chairs decorated with lily-of-the-valley, pinecones, and ears of wheat. A mahogany table made by Schwerdfeger is adorned with a frieze of sunflowers and thistle leaves. Dogs’ heads, representing the Queen’s pets, add a charming detail.



Armchair from the “Wheatear suite” from the queen’s bedroom, Petit Trianon, 1787, Georges Jacob, chairmaker, carved and painted walnut, Desfarges, Lyons, textile manufacturer, linen embroidered on cotton, musée du château de Versailles



Dressing Table made for Marie Antoinette at the Tuileries Palace, 1784, Jean-Henri Riesener (1734-1806), marquetry of satinwood and kingwood, gilt bronze, musée du château de Versailles



Bed from the King’s Bedroom, Petit Trianon, 1775-1785, giltwood and modern silk lampas, musee du chateau de Versailles



As elaborate as these objects seem, these designs were of the more modest scale and simplicity befitting a country house and, for the most part, not as grand as the highly gilded furniture and objects created for public, royal palaces. There are notable exceptions, including the famous Trianon lantern. Lanterns were important in the main rooms of the Petit Trianon because they kept the candles from extinguishing when windows were opened in the summer months. This grand lantern is decorated with paste diamonds and is exquisitely finished in the minutest detail with Cupid’s symbols of love: arrows, bows and a quiver.



The salon de companie at the Petit Trianon






The Gardens of the Petit Trianon



Carle Vanloo (1705–1765), Madame de Pompadour as a gardener, oil on canvas, musée du château de Versailles



Marie-Antoinette’s husband, King Louis XVI, gave the Petit Trianon to her in 1774. Shortly after, she began an extensive refurnishing and landscaping project to tailor the existing building and the grounds to her taste. The royal architect Richard Mique (1728–1794) led the effort to transform the landscape and build structures to create gardens dedicated to pleasure. The botanical gardens became fashionable, English-style gardens full of winding paths, hillocks and streams imitating a natural landscape.



View of the Chateau de Petit Trianon from the French Garden



The French Pavilion in the Gardens of the Petit Trianon



The decorative buildings included a chinoiserie merry-go-round, the classical Temple of Love, and an elegant jewel-box of a theater where the queen participated in amateur plays. The ultimate garden structure was Hameau, a model village of Normandy farmhouses and thatched cottages built around a man-made lake. The landscape artist Hubert Robert assisted in the creation of Hameau, ensuring its picturesque composition with its cottages’ artfully dilapidated rustic exteriors. Although pains were taken outside to maintain an air of cultivated rusticity, the queen’s private rooms at Hameau were luxurious. A pair of beautifully designed firedogs in the form of goats eating grapes reveals the high standards of design and attention to finish and detail that became hallmarks of the queen’s style. In the exhibition, paintings and drawings bring the long-lost gardens to life.



The Belvedere and Rock in the English gardens at the Petit Trianon, Photo ©Christian Milet


The Mill at the Hameau in the gardens of the Petit Trianon


The Marlborough Tower at the Hameau in the gardens of the Petit Trianon



The details add up to a picture of one woman’s taste and how its secrecy and expense became a political issue. No matter what a visitor thinks about the Queen’s spending and lifestyle, few would disagree that her personal taste was responsible for objects of great beauty.

The exhibition is organized in collaboration with the Établissement Public du Musée et du Domaine National de Versailles and supported in part by Dr. Kathy Nicholson Hull and Mr. Bill Gisvold.


www.legionofhonor.org

Tuesday, September 11, 2007

By the Light of the Crescent City Moon



Following on the heals of their highly successful New Orleans toile (shown below), former Broadway actors and now Big Easy retailers Bryan Batt and Tom Cianfichian have created Pontchartrain Beach, a line of fabric and housewares. The pattern, not unlike the New Orleans toile, celebrates the iconic symbols of the city with fleur-de-lys, gold crowns, the cornstalk fence, magnolias- and even crawdads! - all in a Mardi Gras color palate. A percentage of all Pontchartrain Beach sales goes directly to the Children's Hospital of New Orleans, and specifically its Music/Recreation and Child Life Department and Caps for Kids programs.





Thew award-winning New Orleans toile, designed by New York artist Sonia O'Mara based on sketches by Batt. Landmarks celebrated in the pattern include St. Louis Cathedral, the St. Charles street car, scenes from the historic Vieux Carré and the steamboat Natchez. Available in five aptly-named colorways (magnolia, café au lait, claret, delphine and palmetto), it can be bought by the yard, or sewn into any number of items, from tea towels to shower curtains.



Hazelnut New Orleans
Fine Gifts
Elegant Home Accessories
5515 Magazine Street
New Orleans, LA 70115
(504) 891-2424
www.hazelnutneworleans.com



PS: Kelly Wearstler, I see your white greyhound and raise you one elephant. (31" tusk to tail, 27" tall; $700.00)

Monday, August 06, 2007

Waxing Nostalgic



To celebrate the 300th anniversary of its founding in October 1707, the English institution Fortnum & Mason is undergoing an extensive remodel. Described as "a sensitive open-heart surgery," the shop will be open for business throughout the process, which will include the building of a new central lightwell, restaurants and departments, as well as with the fixing-up of some of the old favorites. The infamous Food Hall, for example, will now cover a full two floors and feature a wine bar.

In order to defray some of the costs of this undoubtedly expensive undertaking, Fortnum & Mason is selling off part of its collection of paintings, prints, chandeliers, furnishings and fittings, and wine at Bonhams's New Bond Street saleroom on September 27th. Some of the paintings may fetch well upwards of £50,000 each, and clearly indicate the seriousness with which Garfield Weston, chairman of the company from 1951-78, curated the collection. It was never intended to be a formal collection that would be lent out or travelled, but rather a means of surrounding the company's employees with wonderful - and very British - works. They were mainly hung in the corporation's boardroom and offices. Other artists included in the sale are Frederick William Watts, Edmund Blair Leighton and Henry Edmond Detmold.



A painting of The Gallant Speedy, one of several works by Montague Dawson in the collection and under the hammer.


Rather a surprise in the collection of primarily English painters, a work by French artist William-Adolphe Bouguereau



Another aspect of the sale includes memorabilia from Fortnum & Mason. With its long history of employing British artists, many of its seemingly minor pieces (menus, for example) were actually created by designers and illustrators Oliver Messel, Hugh Casson, Berkeley Sutcliffe and Michael Dillon.



A modern dolls-house, modelled on an earlier Fortnum & Mason building. The front of the house opens to reveal a staircase, interior archways, shelves and shop fittings and six departments including a Food Hall, China & Glass, Clocks, Perfumerie and Wine.



October 2007 will see the grand reopening of the shop, which, in its own (and true) words, "one simply must visit once a season." And if you can't visit in person, visit online. After a bumpy few years of total inundation with Christmas orders, the shop is finally overhauling its website and shipping systems. All the marmalade, biscuits and turkish delight you could ever wish for are but a few clicks away.






A bit of history about the firm, courtesy of Bonhams' press release for the sale:

Fortnum & Mason (1707 – 2007)

In the first decade of the 18th century, Hugh Mason ran a stabling and ostling business - Mason’s Yard off Duke Street still bears his name. William Fortnum rented Mason’s spare room before aristocratic connections led him into the service of Queen Anne, where the nightly footman’s perk of emptying the royal candlesticks of beeswax initiated an increasingly profitable recycling business for the entrepreneurial Fortnum. The stubs were melted down into new candles to sell on to the ladies of the court, and so successful was the enterprise that landlord and tenant set up shop in Duke Street for the discerning general public.

Fortnum & Mason first made its name under the Hanoverian Kings, as Piccadilly and its environs developed into the most fashionable part of the most exciting city in the world. Grand houses built for dukes, earls and rich hopefuls imposed their presence on the area. Fortnum and Mason were quick to seize the opportunity and daily sent liveried page boys to the aristocratic residences, such as Buckingham House, Clarence House, Spencer House and the Great Burlington House.


The facade of the venerable old building, and a detail of its famous clock:






The shop was decorated from the 1920s to the 1950s by the rising stars of theatrical art including Allan Walton’s whose decorations were other-worldly, featuring murals and panels with mythical creatures and fantastic landscapes to enhance the sense of stepping into fairyland on arrival at Fortnums.

Today, Fortnum & Mason is just as much an experience of style, beauty and presentation, which is reinforced in the paintings, and works of art in this sale.


www.bonhams.com

Thursday, August 02, 2007

In Due Time


Edward Weston's Book of Nudes, edited by Brett Abbott, 2007



In 1953, writer and curator Nancy Newhall and photographer Edward Weston began planning a book devoted to Weston's photographic studies of the female nude. A number of publications had already been done on Weston's work, but none had focused specifically on this theme, and none of them involved Weston's direct participation. The book incorporated still lifes and landscapes (both were closely tied to Weston's exploration of the nude) and an essay by Newhall discussing the artist's very unique - and radical - aesthetic. But too radical it was, and nervous editors pulled the plug on its publication.



Nude, 1936



Pepper, 1930


The mock-up created by Newhall and Weston was acquired by the J. Paul Getty Museum in 1985, virtually in tact, though several pages and prints had been removed or gone missing. Only last year did Brett Abbott, the Getty's assistant curator of photographs, find a way to realize Newhall and Weston's original vision - by working with the museum's own collection and that of the Center for Creative Photography in Tucson, Arizona, Abbot was able to recreate the format as its creators had intended, complete with the essay and all 39 images.



Nude, 1927



Point Lobos, 1930



Abbott's book defines newly added elements, including a preface and images of the original mock-up, by differences in paper and ink. But it is an otherwise faithful testament to the vision of Newhall and Weston.

Newhall's vision was particularly ahead of her time. She worked not only with Weston, but with Ansel Adams and Paul Strand, and wrote extensively on photography and conservation (she was an early and avid member of the Sierra Club). And when husband Beaumont Newhall was called to service in WWII, Nancy stepped into his position at MoMA and acted as head curator for the department of photography. In 1952, she, along with Adams, Dorothea Lange, Barbara Morgan, Minor White and husband Beaumont, founded Aperture, the leading non-profit arts institution dedicated to advancing fine photography.

The book is published to coincide with an exhibition of Weston's work on view from July 31 to November 25, 2007, at the J. Paul Getty Museum.


Edward Weston's Book of Nudes
Edited by Brett Abbott
Based on the unpublished book compiled by Nancy Newhall and Edward Weston
J. Paul Getty Museum
Published in association with the Center for Creative Photography, University of Arizona, Tucson.
96 pages, 10 1/2 x 11 1/4 inches
1 color and 70 duotone photographs
ISBN 978-0-89236-903-4
hardcover, $39.95
2007

www.getty.edu

Edward Weston's negatives continue to be printed by his son, Cole, and can be purchased at www.edward-weston.com.