Page 28 - Bonhams Cornette Saint Cyr, Property from the estate of Jean-Pierre Rousset (1936-2021)
P. 28

Jean-Pierre Rousset (1936 - 2021)



                                                   Géraldine Lenain
                                       President of the Amis du Musée Guimet
















































           With Jean-Pierre Rousset, everything is elegance: his appearance,   This constant reserve that he adopted as a way of life was to his
           always impeccable. Whether on his motorboat in Cannes or on a   credit. When he decided in 2003 to finance the second part of the
           trip with friends to the Cambodian jungle, he was always in suit and   restoration of the monumental court painting, The Hanlin Academy
           tie. Photos of him walking through the busy streets of Hong Kong in   (Hanlinyuan 翰林院), painted in 1744-1745, in the collection of the
           the 1980s, dressed to the nines in the extreme heat of summer and   Cernuschi Museum in Paris, he told no one about it. The gesture was
           the intense humidity, illustrate the gentleman that he was, unfailingly   noble, just as he was. When the alarming state of this commemora-
           “comme il faut”. When he and his charming wife Micheline (1929 -   tive work, which describes the 1744 banquet of the Qianlong em-
           2004) received guests for dinner in their splendid apartment in the   peror on the occasion of the renovation of the Academy's buildings,
           Tour France in Puteaux, it was with style, with the incredible services   came to light, Jean-Pierre Rousset immediately responded to the
           of 18th century Famille Rose export porcelain, surrounded by Khmer   call, without expecting anything in return.
           sculptures, archaic Chinese bronzes and 18th century Japanese
           screens; his manner self-effacing. Never to be noticed. Not to give
           himself away, even to those closest to him. During his daily visits to
           Hôtel Drouot, he could be seen making his rounds in the viewing
           rooms, concentrating on the pieces rather than the socialising. It
           was rare to see him at exhibition openings or at cocktail parties. At
           public auctions, he never sat in the front row, preferring the back of
           the room where he could disappear into the crowd and bid without
           being seen.



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