The Best of the Past
Decorative arts in interiors
“Interior designers have always played a crucial role in developing broader interest in the decorative arts. Edith Wharton and Ogden Codman’s pioneering “The Decoration of Houses” explains “… how to build and decorate houses with nobility, grace and timelessness”, whereby decorative arts played an essential role.” — Amjad Rauf
The use of antiques in contemporary interiors has become increasingly popular in recent years, perhaps, at least in part, due to their use by a panoply of interior designers such as Axel Vervoordt (b. 1947), Rose Uniacke (b. 1963) and Atelier AM, whose work, understandably, is frequently seen splashed across the pages of glossy interiors magazines. Following Ikea’s 90’s battle cry of “Chuck out Your Chintz” there was, particularly amongst Gen X, a mass uptake of Scandinavian design, twentieth century style and the desire for a cool, crisp, modern look that left many in fear of “brown furniture” — a derogatory catch-all term referring to the sort of dark, heavily polished pieces typical of the ninetieth century aspirational bourgeoisie. However, despite the clutches of a mid-century modern design obsession, younger buyers, and in particular, millenials, are increasingly interested in antiques and classical decorative arts as a means to create rich, layered interiors. Indeed the new generation of designers, people like Fabrizio Casiraghi (b. 1986) and Alyssa Kapito (b. 1986) frequently use a variety of periods and styles in their interiors — and it’s not at all unusual to see Queen Anne rubbing shoulders with Jean-Michel Frank (1895-1941) and Stephen Antonson (b. 1966). This sort of eclectically curated interior is of course nothing new, with French fashion designer Yves Saint Laurent (1936-2008), who arguably took collecting to the next level, creating something of a sensation with his elegantly appointed, and now iconic, rue de Babylone apartment; where monumental lacquer vases by Jean Dunand (1877-1942) and eighteenth century bronzes were displayed against a backdrop of sumptuous Art Deco panelling and works by the likes of Fernand Léger (1881-1955), Thomas Gainsborough (1727-1788) and Pieter van Boucle (1610-1673). Similarly Hubert de Givenchy (1927-2018) at his sprawling seventeenth century Manoir du Jonchet created interiors that Louis le Bien-Aimé would have admired whilst incorporating modernist 1970s furniture by artist Diego Giacometti (1902-1985). Neither designer was interested in pastiche or slavishly reproducing museum like period interiors, but in bringing together the best of the past in a way that was personal, approachable and relevant to the era in which they lived. Antiques are wonderful in that they have a softness and patina built up over centuries of use, and can add a degree of warmth, depth and interest that mid-century furniture simply cannot match. Combined with contemporary art they can make an interior feel anchored and collected over time; something particularly useful when furnishing a modern home. We spoke to Amjad Rauf, International Head of Masterpiece and Private Sales at Christie’s about his passion for eighteenth century furniture and the influence of Instagram on the worlds of art and design.
Amjad Rauf, International Head of Masterpiece and Private Sales at Christie's
The London List: What was it that initially drew you to a career in the arts?
Amjad Rauf: My interest in art and design developed at a young age through magazines like World of Interiors and House and Garden but also through visiting antique dealers in The Hague where I grew up. A career in the arts didn’t really seem an option, so I started studying Economics and Law — but soon realised it wasn’t a match with my personality and interests and so instead switched to History of Art at Leiden University.
What would you say is your particular area of interest or expertise?
European furniture, particularly French furniture and works of art. When I started at Christie’s it was my main focus, but over the years I soon became interested in other fields of decorative arts — porcelain, silver etc — and the role that they play in historic interiors and private collections.
Who was, or still is, your mentor?
I’ve been fortunate enough to befriend various museum curators, experts and art historians who were all generous with their knowledge, providing guidance in my early career. One in particular stands out, Professor Reinier Baarsen of the Rijksmuseum, who has been a enormous inspiration to me since my university years. Also at Christie’s, Deputy Chairman Charles Cator has been an enormous help and support — and I hasten to add that I’ve learned an awful lot from our clients, who often have a great deal of expertise themselves.
Ambition or talent: which matters more to success?
A bit of both is essential, but passion is perhaps even more important. Being passionate about a subject or topic is essential to being credible and successful.
In recent years there have been numerous articles with headlines such as Millennials Don’t Like Brown Furniture, or even, Millennials Killed Antiques. As a millennial working in the design world, and as one who owns several antiques, I would argue that that’s not necessarily the case. However, I would say young collectors are often intimidated by antiques, turning to digital mediums like Vinterior and 1stDibs that offer the opportunity to peruse safely. How do you think auction houses can open up to a younger market?
Whilst I realise the role of art and antiques has changed over the last two decades, recently, with the preference for muted, neutral interiors, I feel a strong resurgence and interest for the decorative arts of earlier times. Art and antiques now feature more prominently on social media and online platforms; Christie’s has also put a great deal of effort into developing its digital platform, enabling us to reach new — and younger — audiences. Indeed it’s encouraging to see a younger generation become more interested in the decorative arts and in absorbing information about works and collections.
Which periods or genres of antique furniture do you think work best in contemporary interiors?
The straight lines and geometric forms of Neoclassical furniture, late 18th and early 19th century, are often used in contemporary interiors, and work well — just like Classical bronzes and other works of art. The luxurious and refined interiors of celebrated designer Peter Marino are a great example how this can work well. Other combinations — for instance of Baroque or Rococo, together with contemporary elements, can also be incredibly interesting.
The home of Henri Samuel, Paris
Jacques Grange famously helped Saint Laurent with his numerous interiors, as well as designing the famous cabinet of curiosities at his rue de Babylone apartment; what role, if any, do you think interior designers play in the popularity of decorative arts?
Interior designers have always played a crucial role in developing broader interest in the decorative arts. Edith Wharton and Ogden Codman’s pioneering The Decoration of Houses (1897) explains “… how to build and decorate houses with nobility, grace and timelessness”, whereby decorative arts played an essential role. Apart from Grange, whom you mention, as Yves Saint-Laurent’s favourite interior designer, I would add that many others have keenly incorporated decorative arts in their projects: Stephane Boudin and Pierre Delbee at Maison Jansen, John Fowler at Colefax & Fowler and Axel Vervoordt, to name but a few.
How do you keep abreast of the art market and is social media playing an increasingly important role?
As a I travel a lot for my work, visiting clients throughout Europe — but also cultural institutions, galleries and art fairs — I try to stay in tune with the art market and keep up with changes, fashions and trends. At the same time, I follow the art market on social media, and also through my own Instagram account.
Clearly Instagram influences the worlds of art and design, with many designers and architects creating interiors that are deliberately geared towards the editorial or “instagrammable” – do you think this has an impact on the popularity of certain areas of genres of the decorative arts?
Social media and Instagram have given us an unprecedented way to explore and learn. I feel that accounts and posts with genuine and authentic content – on architecture, gardens, historic interiors, design or decoration – seem to be much followed and liked. I’m not aware of projects being specifically created for social media but I sense a strong appreciation for traditional craftsmanship, original design, unknown interiors, pioneering artists and personalities.
Which art or design website do you find most inspiring?
The London List! So much concentrated information on many fascinating topics which are always eye-openers.
What advice would you give to someone looking to start a collection?
Identify an area that interests you and try to gain as much knowledge as possible by visiting museums and fairs, but also by speaking to experts, dealers and other collectors. Universities offer many online courses; Christie’s Education has courses on the decorative arts covering 500 years and the development of styles.
Which artist has had the biggest impact on you and why?
Chair-makers — or menuisiers —Nicolas Heurtaut and Nicolas Quinibert Foliot, both active in the mid-18th century during the reign of Louis XV, are among my favourite artists. Some of their designs are so bold and audacious — entirely three-dimensional sculptures.
On that note, what’s your favourite work of art?
Almost impossible to choose one favourite work of art — but perhaps the enormous Louis XV gilt-bronze chandelier created by Jacques Caffieri c. 1751 — and now in the Wallace Collection, London. Here again, their extraordinary dynamic design, giving the sense of weightlessness, is heart-stopping.
The home of Terry de Gunzburg, Manhattan, designed by Jacques Grange, Picasso’s “Buste de Femme” (1955) hangs over the fireplace, photograph by François Halard
What was the first important piece of art or design you ever owned?
Blumengarten (1993), an orange, silver and gold “pour-painting” by Swiss contemporary artist John Armleder is a work of art particularly important to me personally. I bought it in 2010 at a time when I first started to experiment more with how to mix classical decorative arts with modern and contemporary works.
Which artists would you collect if you could?
Cezanne, Picasso but also Dieberkorn and Rothko. I’m fascinated by works of art showing some sort of transition or mood and I was particularly moved by Rothko’s Yellow Expanse (1953), and how it was displayed in the collection of designer Bunny Mellon. I wish I’d had the chance to visit her Oak Spring Garden Library where it hung until a decade ago.
An object you would never part with?
A late 1920s/early 1930s portrait by Neo-Romantic artist Christian Berard — of his Russian friend Igor Markevitch — is a work I would never part with; his gentle melancholy is mesmerising.
What was the last thing you bought and loved?
I’m passionate about 18th and 19th century Japanese lacquer – particularly their precious and finely decorated surfaces, but also their sparing designs. I recently bought a late 18th century box minutely decorated with various mountain landscapes which I love holding and looking at.
What would you like to own that you currently don’t possess?
A small Louis XVI ebony desk, ideally made by Claude Montigny in the 1780s. I’m drawn to his powerful, bold designs — the gleaming ebony veneers mounted with gilt-bronze.
What’s the best gift you’ve been given?
It’s difficult to name one in particular — I feel immensely privileged seeing so many marvellous works of art on a day-to-day basis, which is a gift in itself.
What’s your biggest extravagance?
Flowers, particularly roses, tulips, orchids and ranunculi. When I’m at home in Amsterdam I love going to favourite flower shops and markets and filling pots and vases with flowers in season.
Where’s the most unforgettable place you’ve travelled?
The Forbidden City, Beijing. When Christie’s toured highlights of Masterpieces of a Rothschild Collection to China in May 2019, I accompanied the works of art and gave a series of lectures in Shanghai, Beijing and Hong Kong. In Beijing I was allowed early morning access to the Forbidden City before one of my lectures and wandered for hours there by myself through the various pavilions and gardens. I was particularly struck by the Emperors reverence for the collections of their predecessors, for instance Emperor Qianlong’s admiration for the works of art in the collection of Emperor Kangshi.
Where would you like to go next?
When we’re allowed to travel again, to St Petersburg, particularly Pavlovsk, where so many great Russian treasures are combined with superb French and German items of furniture and works of art, largely acquired in the 1780s.
Paris apartment designed by Fabrizio Casiraghi, who devised an abstract Ellsworth Kelly-inspired artwork for the ceiling of the entry hall, photograph by Cerruti Draime
What’s the best souvenir you’ve brought home?
On most trips I try to buy books — usually on palace and museum collections I visit.
Tell us about a recent “find”?
I was excited to find Napoleon III silk velvet from the collection of Baron de Rede — which I used to make small tiered occasional tables.
If you didn’t live Amsterdam, where would you live?
If I had to choose a new home I think it would probably be Paris. When I lived in Canada as a young child I was sent to French schools and French has essentially become my third language which is very helpful. I studied in Paris for a year after finishing school and have always had many French friends. It’s a city with so much art and culture in every corner — to the extent that it’s entrenched in everyone’s lives and part of daily conversations. My favourite areas are the 3rd, 4th and 6th arrondissements where the façades and sculpted doors are particularly noteworthy. For coffee I go to Le Peloton and Cafeotheque; a few restaurant favourites are La Laiterie, L’Estrapade and Le Voltaire. At Drouot there are wonderful auctions most days and great antique dealers on Rue de Beaune, Rue du Bac and Rue de l’Universite — for fabrics one goes to the streets around Place des Victoires and Rue du Mail.
What’s the best book you’ve read in the past year?
I enjoy reading biographies and recently read that of Giselle d’Ailly, wife of the mayor of Amsterdam, herself an artist, who lived a few doors from me. She had a truly fascinating life — even sheltering various people during the War.
What would you do if you didn’t work in art?
Perhaps a psychologist — I’m deeply interested in people, their behaviour and how they are formed by their experiences and background.
What ambition do you still have?
To never stop learning, to stay curious and to meet interesting people.
What’s the greatest challenge of our time?
We’re faced with so much information on a daily basis, as well as varying forms of communication, that it can sometimes be difficult to focus on anything properly; to have in-depth conversations, or to find time for oneself and contemplation. As a result, more so than ever, it’s important to be thorough and trustworthy and to provide truthful information and expertise — after all, so much of what’s out there is entirely unreliable.
What’s next?
Focus on art and people, to the best of my ability.