Behind the Chinoiserie:

An evening with Claud Cecil Gurney

12 December, 2024

Two weeks ago, I attended my first fireside chat at the Upper House in Hong Kong. ‘Up Close’ fireside chats are hosted by the hotel, who invite highly esteemed designers, creators, and advocators for thoughtful conversations. Past guests include Christian Louboutin and Dr. Jane Goodall. This time, Upper House was hosting Claud Cecil Gurney, founder of de Gournay, a British luxury interior company specialising in hand painted wall coverings and fabrics.

As someone breaking out of a self-imposed academic mould, I was slightly nervous entering the Sky Lounge on the 49th floor. Most of my work involves in-depth research and a computer; I do not see the inside of many sophisticated events.

Not only had guests donned their best, the atmosphere was warm and overflowing with elegance. A fireplace flickered behind Gurney’s seat and sunset tinted flowers were beautifully arranged around the venue. It felt like a living room despite an audience of over 70 people.

Much of what Gurney discussed was not the technicalities of wallpaper design, but the inspiration behind it. He shared key moments of his journey when preconceived notions were challenged and new opportunities presented themselves. 

It was a reflective experience.

While I studied history throughout university, I was focused on significant events such as the major World Wars and socioeconomic developments in the 20th century that have shaped the present day. Incredibly proud of my pristine degrees from the London School of Economics, I considered myself a ‘serious’ historian and writer

However, I am beginning to recognize what a waste it is to limit an appreciation of history to a predominantly academic perspective. Whether it is a heritage building or a silk tapestry, there is often a story worth recounting about its origins. History can reveal the true value of so many of the objects we adorn our spaces with - the very pieces that contribute to the ‘atmosphere’. 

There was a distinctive moment when Gurney referred to the term “spirit resonance” while talking about art and design. He illustrated by describing four artists who observe a single oak tree in a forest and end up painting them very differently.

“You might see that you prefer one painting over the other three and that could also be because you’re resonating with the emotions or feelings of the artist while they created it,” he elucidated. 

This, though not entirely logical, resonates with me. Perhaps I am drawn to de Gournay’s designs because what I am picking up on is a kind of imprint - one of adventure and curation.

As it turns out, most of Gurney’s journey is synonymous with exploration. While he acquired a PhD in Economics from the University of Chicago and proceeded to work in accountancy, he later realised the structured corporate world was much too dull for him. Emboldened by this realisation, he traded that life for unknown pastures. 

In the early 80’s, Gurney travelled to China with his nephew, Dominic Evans-Freke (co-founder of de Gournay), to restore wallpaper for panels in his London home. However, he discovered finding the right artwork was no easy feat. Recognising an opportunity to fill the gap and find suppliers in spite of political and cultural challenges, he laid the foundations for de Gournay. 

While their wallpapers are now created with artisans in two wholly owned studios in China and India, the focus was on the Far East. “I love China and the craftsmanship,” Gurney said, recalling the time he spent discovering local artists who could produce high-quality hand painted designs.

“It was initially difficult because a lot of artisan work came to a halt and China virtually shut its doors to the world after the Qing dynasty. Thankfully, it opened up again in the late 20th century, thanks to Deng Xiaoping and Jiang Zemin. 

On the topic of history, Gurney reconnects chinoiserie* to the Chinese dynasties. He acknowledged that while the western world might mistakenly attribute the finest silk to themselves, its true origins lie in China. Chinoiserie just became more widely available to Europeans in the 17th century as a result of British Imperialism. 

Even the term, ‘chinoiserie,’ is now somewhat controversial. While some argue it is cultural appropriation undermining traditional Chinese art, others see it as an opportunity for creative collaboration between Europe and the East. 

Anna Wu, a Senior Exhibitions Coordinator at the Fine Arts Museums of San Francisco, wrote her dissertation on Chinese Wallpaper at the Royal College of Art. She delves into the true origins of wallpaper, rousing an eye-opening history of colonialism and trade. Noting that there is a lack of sources available explaining Chinese wallpaper as a result of Chinese art, or "as a local product of China, as opposed to part of a European decorative style,” she explains there is actually an ‘ornamental language’ that can be traced back to the tenth century. Professor Dame Jessica Rawson, an English art historian and sinologist, explores this ornamental system and its significance in Chinese Ornament: The Lotus and the Dragon. She demonstrates that flora and fauna usually reflected deeper auspicious meanings, which European artisans were largely ignorant of. 

This awareness does not seem to escape Gurney, who openly acknowledged the uncomfortable period of history where much of this cultural work was, in many ways, whitewashed. He even paused to briefly apologise for his colonial ancestors, especially during the harshness of the Opium Wars. 

Maybe things change. In the world of de Gournay’s wallpapers, there is a commitment to time-honoured methods. According to an article by Homes and Gardens, "the average de Gournay wallpaper panel takes 150 hours for six artists to produce. As most designs require about 20 panels, a full order can take anywhere between three and six months.” Traditional methods are employed, often utilising rice paper, silk, and watercolour. This kind of authenticity is visible in all of de Gournay’s ambitious collections, some of which include Mughal, Japanese, and Korean art. 

Gurney reiterated that the main ingredient for success is to follow what naturally calls to you.

“If your passion or interest is to collect butterflies, study them, or spend hours drawing them, then you should do that, and the money will present itself, the point is that you will probably be one of the best doing it. You may even spot a butterfly so rare no one has ever seen it before,” he pointed out. 

And the rest could be history.

*Chinoiserie:

Chinoiserie is an aesthetic that became popular in Europe during the 17th and 18th century. European craftsmen were inspired by Chinese art and motifs and began to project their understanding of them onto furniture, textile and architectural design.