拍品 58
58
THOMAS JECKYLL (1827-1881)
THOMAS JECKYLL (1827-1881)
THOMAS JECKYLL (1827-1881)
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THOMAS JECKYLL (1827-1881)

Pair of Rare and Important 'Sunflower' Andirons, circa 1878-1884

細節
THOMAS JECKYLL (1827-1881)
Pair of Rare and Important 'Sunflower' Andirons, circa 1878-1884
manufactured by Barnard, Bishop and Barnards, Norwich, Norfolk, England
polished brass, patinated wrought-iron, wrought-iron
(one andiron) 33 5/8 in. (85.5 cm.) high, 19 1/2 in. (49.5 cm.) wide, 11 1/4 in. (28 cm.) deep
(the other) 34 in. (86.4 cm.) high, 20 in. (50.8 cm.) wide, 11 1/4 in. (28.6 cm.) deep
one impressed F. I & Co. No. 2. [illegible]
來源
Margot Johnson, New York.
Acquired by Ann and Gordon Getty from the above, 1996.
出版
W. Smith, The Masterpieces of the Centennial International Exhibition, Volume II: The Industrial Art, Philadelphia, 1875, p. 403 (for a related 'Sunflower' railing at the 1876 Centennial International Exhibition).
"The Paris Universal Exhibition," pt. 6, Magazine of Art I, 1878, p. 167 (for an illustration of this design), 188 (for a reference to this illustration).
G. William Sheldon, Artistic Houses, vol. 1, pt. 1, New York, 1883, pp. 25-34 (for a discussion of David L. Einstein's house), pl. 19 (for a period photograph of Einstein's library).
P. Ferriday, "Peacock Room," Architectural Review, no. 125, June 1959, pp. 411-412.
J. D. McCabe, The Illustrated History of the Centennial Exhibition, 1876, reprint, Philadelphia, 1975, p. 367 (for a discussion of the related Barnard, Bishop & Barnard pavilion at the Centennial Exhibition of 1876).
In Pursuit of Beauty, Americans and the Aesthetic Movement, exh. cat., The Metropolitan Museum of Art, New York, 1986, pp. 113 (for a period photograph of David L. Einstein's Library, circa 1883), 122, ill. 4.10 (for a period photograph of the Peacock Room designed by Thomas Jeckyll and James Abbott McNeill Whistler for Frederick Richards Leyland, London, 1892); 133; 284, ill. 8.29; 285, ill. 8.20 (for a period illustration of the related 'Sunflower' Railing for the Centennial International Exhibition, Philadelpha, 1875).
C. Gere and M. Whiteway, Nineteenth-Century Design; From Pugin to Mackintosh, London, 1993, p. 160, pl. 198 (similar design illustrated).
W. Moonan, "Quirky Victorian Gets His Due," The New York Times, New York, 25 July 2003, Antiques Section, n.p. (for a discussion of Jeckyll and his sunflower motif).
S. Weber Soros and C. Arbuthnott, Thomas Jeckyll: Architect and Designer, 1827-1881, exh. cat., The Bard Graduate Center, Yale, 2003, pp. 14, fig. 1-3 (for a period photograph of the ‘Peacock Room’); 15, fig. 1-6 (for a period photograph of Jeckyll’s sunflower design on a display board at the Norwisch Industries Festival Exhibition, 1951); 16, figs. 1-7 (for a period photograph of Jeckyll’s Pavilion at the Centennial Exhibition) and 1-8 (for a design for the bracket of this pavilion); 17, fig. 1-10 (for this design illustrated on the cover of The Aesthetic Movement: 1869-1890, an exhibition held at the Camden Arts Centre, London, in 1973); 48, fig. 2-47 (for a drawing of the fireplace at Greyfriars, Norwich depicting Jeckyll’s ‘Sunflower’ andirons, 1883); 192, fig. 5-61 (for a period photograph of the ‘Peacock Room’); 195, fig. 5-70 (for a photograph of the ‘Peacock Room’ at Freer Gallery in the 1990s); 196, fig. 5-71 (for a period photograph of the ‘Peacock Room’); 197, fig. 5-75 (for a photograph of the ‘Peacock Room’ at Freer Gallery in the 1990s); 200, fig. 6-1 (for a period photograph of the Pavilion at the Centennial Exhibition); 220, fig. 6-52 (for a period photograph of the Barnard, Bishop and Barnards stand at the Paris Exposition Universelle, 1878); 225, fig. 6-66 (for a Sunflower from the railing of the pavilion at the Centennial Exhibition, 1876); 227, fig. 6-73 (for a period photograph of the pavilion from the Centennial Exhibition, 1876); 228 (for period photographs of the pavilion at the Centennial Exhibition); 229, fig. 6-77 (for a period photograph of this design, 1876) and figs. 6-78 and 6-79 (for period advertisements of this design); 230, fig. 6-80 (for a period photograph of David L. Einstein’s house, New York, 1880s) and fig. 6-81 (for the pair of andirons in the Birkenhead Collection)
W. Moonan, "A Movement That Brightened Victorian Lives," The New York Times, New York, 18 January 2008, Antiques Section, n.p.
J. T. Busch and C. L. Futter, Inventing the Modern World: Decorative Arts at the World’s Fairs, 1851-1939, exh. cat., Carnegie Museum of Art, Pittsburgh, 2012, p. 44, nos. 12 (for a period photograph of the pavilion) and 13
注意事項
Please note this lot will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) at 5pm on the last day of the sale. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services. Please consult the Lot Collection Notice for collection information. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk and will be sent with your invoice.

榮譽呈獻

Elizabeth Seigel
Elizabeth Seigel Vice President, Specialist, Head of Private and Iconic Collections
+1 212 484 4812

拍品專文

Thomas Jeckyll and James Abbott McNeill Whistler (1834-1903) famously designed 'The Peacock Room' for the British shipping magnate Frederick Richards Leyland at 49 Prince's Gate in Kensington, London. The room included a pair of 'Sunflower' andirons designed by Jeckyll produced by Barnard, Bishop and Barnards around 1876, when the project was coming to a close. This 'Sunflower' pattern was prominently featured in the Centennial International Exhibition of 1876 held in Philadelphia, Pennsylvania. A cast- and wrought-iron pavilion listed as 'Sunflower Pavilion' in the exhibition catalogue included a railing composed of these sunflowers designed by Jeckyll and made by Barnard, Bishop and Barnards. The andirons were again exhibited in 1878 at the Paris Exposition Universelle. By the 1880s, the andirons had found their way into notable interiors such as David L. Einstein's library as published in Artistic Houses (1883).
The sunflower was a motif closely tied to the Aesthetic Movement, which drew inspiration from Japanese art such as woodblock prints with stylized compositions of nature and beauty. The subtle movement of the petals and leaves of the perennial flowering plant is memorialized in an otherwise durable and rigid material. Simplified forms expertly crafted exemplifies the central tenets of Aestheticism: beauty in purity. The present lot is the only known example with sunflower heads executed in polished brass while the remaining body is formed from patinated wrought-iron.

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