Parlor Suite,  c. 1915

An elegant suite—comprising a settee, two armchairs and two side chairs—exemplifies the refinement and sensuality of André Groult’s work. The oval backs, tapering legs, and bowing arms present the designer’s signature curvaceous line, a hallmark of his style. This ensemble bridges a transition from the sinuous refinement of Art Nouveau to the geometry of early Art Deco. A rare and harmonious example of Groult’s early work that captures the craftsmanship and playfulness that defined his contribution to French modern decorative arts. Newly upholstered in a subdued coral linen textile.

Bibliography: Marcilhac, Félix, "André Groult: décorateur - ensemblier du xxe siécle." Les Éditions de l'amateur, related model pg. 71.

Bench: 39.25"H x 44.75"W x 21”D, SH: 17.5"

Armchairs: 38"H x 23"W x 18.25”D, SH: 17.5"

Side Chairs: 36.25"H x 17.25"W x 16.5”D, SH: 18.5"

Ottoman Pattern Panel, c. 1920

A rare, early block-printed wall hanging by Mariano Fortuny (1871–1949) of architectural scale, featuring a vertically oriented, stylized palmette motif known as an Ottoman pattern, inspired by Fortuny’s fascination with classical antiquity. Radiating indigo fronds unfold across a golden field, with glints of ochre and terracotta shining through the layers of blues and greens. Prized for their painterly qualities that emerge only with age, antique Fortuny textiles reflect the proprietary hand block-printing process with natural dyes developed by the artist. Celebrated for their decorative beauty, Fortuny must also be appreciated for the integrity of their creation—a blend of historical homage and technical innovation unique to the early 20th century.

104.5”H x 47.5”W

Pair of Armchairs, c. 1929

Tubular nickel-plated steel framed armchairs designed by Adrienne Górska and manufactured by Boivinet for Atelier Primavera, exemplifying the refined modernism of interwar Paris. First featured in the celebrated apartment of Górska’s sister, painter Tamara de Lempicka, in a Robert Mallet-Stevens-designed building, the chairs reflect the sisters’ shared avant-garde vision —Lempicka’s in art, Górska’s in architecture and design. One of the first women to graduate from the École Spéciale d’Architecture in Paris, and reputed to have taught Eileen Gray architectural drafting, Górska transformed industrial materials into a language of luxury and precision. An exceptional example of her contribution to modern design at a time when female authorship in this field was exceedingly rare.

Bibliography: Anne Bony, Les Années 30, Paris, Éditions du Regard, 1987, image p. 812.

Olivier Cinqualbre, Frédéric Migayrou, Anne-Marie Zucchelli, UAM. Une aventure moderne, Paris, Centre Pompidou, 2018, image p. 91.

Model represented in the collection of Centre Pompidou, Paris.

29”H x 26.5”W x 31”D

Cabinet, c. 1940

An elegantly proportioned cabinet in solid oak by André Arbus (1903-1969). Designed in the early 1940s—a period when Arbus sought to reconcile modern austerity with traditional French elegance—the piece embodies his mastery of neoclassical restraint and architectural precision. A strong rectilinear silhouette is softened by details of beveled corners and an elegantly recessed plinth. Both functional and sculptural, this cabinet affirms Arbus’s role in defining the modern French interior, bridging the artisanal traditions of the 18th century with the clean geometry of modernist design. Original bronze hardware and keys functioning.

40“H x 52.75“W x 20.75“D

Six Dining Chairs, c. 1920

A set of six dining chairs that exemplify Francis Jourdain’s pursuit of simplicity, functionality, and structural clarity—the principles that defined his contribution to early modern design. The fenestrated, open 2x2 grid work backs demonstrate Jourdain’s affinity for rational geometry and honest expression of form. Executed in richly chatoyant mahogany and rosewood, each chair is expertly constructed with visible attention to joinery and edge detailing. Out of Jourdain’s philosophy that “one can furnish a room luxuriously by unfurnishing it,” this design bolsters his belief in the aesthetic power of restraint. The clean lines and absence of ornament reflect his alignment with the ideals of the Deutscher Werkbund and his advocacy for modular, serially produced furniture that elevated everyday living through thoughtful design. The seats of these chairs have been upholstered in a black and brown woven horsehair textile with a subtle sheen that is naturally stain repellent.

35.5”H x 18”W x 18.25”D

Seat Height: 17.5”

Iron Tripod Floor Lamp, c. 1940

A finely proportioned tripod base floor lamp by the French design house Maison Ramsay, dating to the early 1940s. Executed in hand-forged blackened iron, this lamp demonstrates Ramsay’s distinctive blend of classicism and modernist clarity. The base, with its elegantly splayed legs and subtly articulated feet, recalls neoclassical precedents filtered through the lens of mid-century French decorative arts. Fitted with a simple, closed-top drum shade in a raw, golden silk that diffuses a warm light. 

Overall: 63.75”H x 18.25”W x 18.25”D

Base diameter: 17”W

Sofa, c. 1940

A sofa Maison Leleu (1910-1973), the French design house founded by Jules Leleu (1883-1961) that rose to prominence following its presentation at the 1925 International Exposition of Decorative Arts in Paris. Dating to the 1940s, this well-documented sofa design embodies the firm’s dedication to subtle detail and quality craftsmanship. This sofa has been reupholstered in a luminous hand-dyed raw silk in a chestnut-rust tone and finished with delicate black velvet piping. Refurbished with down feather cushions, this sofa is incredibly comfortable by today’s standards—something that cannot be said for every piece of historical seating design.

Bibliography: Viviane Jutheau, Jules et André Leleu. Paris: Éditions de l’Amateur, 1989, pg. 116, 181

32"H x 79"W x 36"D

Geometric Gueridon, c. 1930

An unusual table with a striking geometric silhouette. The tabletop and base are both eight-sided, with the body gently narrowing downward from the top toward the base, creating a truncated pyramid shape. Eight small, slightly recessed feet lend this piece some additional height. Streamlined and architectural, this table is suggestive of Art Deco or Viennese Secession. Restored top in authentic French polish.

27”H x 25.25“W x 25.25“D

Pair of Armchairs, c. 1940

A pair of armchairs by Maison Leleu (1910-1973), the French design house founded by Jules Leleu (1883-1961) that rose to prominence after its successful presentation at the 1925 International Exposition of Decorative Arts in Paris. Dating to the 1940s, this well-documented piece embodies the firm’s dedication to detail and craftsmanship. This set has been reupholstered in a luminous hand-dyed raw silk in a chestnut-rust tone and defined by a thin, black velvet piping, with new, down feather cushions. As with this corresponding sofa, these armchairs are incredibly comfortable.

Bibliography: Viviane Jutheau, Jules et André Leleu. Paris: Éditions de l’Amateur, 1989, pg. 116, 181

31"H x 32"W x 34"D

Pair of Egyptian Revival Chairs, c. 1915

A pair of Liberty & Co. attributed pull up side chairs in dark stained oak with angled, slatted backs and particularly striking legs: cabriole forms terminating in stylized paw feet. From the late eighteenth and early nineteenth centuries, an interest in exotic Egyptian art and design had been ongoing, ignited by the exploratory expeditions and archaeological digs that had an influence on the greater European culture. These chairs manifest that interest with their thoughtful blend of British Arts & Crafts and Egyptian motifs. Featuring newly hand-woven cane seats and custom, thin leather cushions in a ochre leather.

32.25”H x 17.5”W x 20”D

Seat Height: 14"H

Side Table, c. 1930

This French oak table, circa 1930 shows the clean geometry and quality craftsmanship of interwar modernism. With visual similarities to the work of Francis Jourdain and Victor Courtray, this table features a circular top of solid oak with a subtly rounded edge and rich patina that highlights the natural grain. The base is composed of rectilinear lattice framework panels—forming an open, architectural structure. The composition achieves a balance between solidity and lightness. Each leg terminates in a small ovoid foot, a discreet nod to traditional cabinetmaking.

25”H x 23.5”W x 23.5”D

Spiral Decor Stoneware Vase, c. 1925

Bibliography: Ader, Picard, Tajan. Collection Alain Lesieutre et a divers. Paris: Ader, Picard, Tajan, December 13, 1989. pg. 41 for related model.

7”H x 6.25”W x 6.25”D

Pair of Armchairs, c. 1937

A pair of clean and classic art deco armchairs by French modernist Jacques Adnet (1900-1984). Reupholstered in a naturally distressing champagne leather from Italy with original solid oak feet stained black.

Bibliography: Alain-René Hardy and Gaelle Millet, “Jacques Adnet”, Les Editions de l’Amateur, 2009, p. 82, 118.

29.5”H x 31.25”W x 31.75”D

Seat height: 17.5”H

Wrought Iron and Murano Glass Centerpiece, c. 1910

An elegant wrought iron and glass centerpiece, created around 1910 by Umberto Bellotto (1882-1940), embodies the refined artistry of Italian Art Nouveau, or Stile Liberty. This centerpiece features a delicately hand-wrought iron base of vine-like ‘vischio’ (miseltoe) branches that twist and climb to support a wide-rimmed amber glass bowl. Bellotto, a Venetian master of ironwork, was known for his innovative approach to metal, elevating it from a utilitarian medium to a refined, sculptural art form. Collaborating with leading architects and designers of his time, Bellotto contributed to a distinctive aesthetic that blended decorative elegance with craftsmanship rooted in traditional blacksmithing. This centerpiece reflects the early 20th-century fascination with nature, movement, and material experimentation at the heart of the Italian Art Nouveau movement.

11.5"H x 11"W x 11"D

Mahogany Side Chair, c. 1930

A solid mahogany side chair with with graceful lines, pitched rear legs and bowed back detail. Fully restored and seat upholstered in black satin.

31“H x 18“W x 16.5“D, Seat 19”H

Large Stoneware Vase in Shades of Gold, c. 1925

Émile Decoeur (1876-1953) began his career as a ceramicist under the apprenticeship of famed French ceramicist, Raoul Lachenal. Decoeur's work was once aptly described by a critic as “sober in form and opulent in material.” His creations can be categorized by restraint, graceful proportions and complex glazes rich in depth and color. The glaze of this vase is a layering of craquelure glaze in shades of ochre and cream with bordering bands of black at the foot and mouth. The idea of Japonisme is present in this work - the rhythmic, concentric circles accenting the surface of this vase at the base and neck suggest waves or the raked sand in a Japanese garden. The calm, organic qualities of Decoeur’s work are a distinctive contribution to modern French pottery, characterized by formal simplicity and a refined technical approach that together evoke a quiet grace. Impressed on underside: “EDecoeur."

Bibliography: Ader, Picard, Tajan. Collection Alain Lesieutre et a divers. Paris: Ader, Picard, Tajan, December 13, 1989. pg. 34 for similar model.

10.25”H x 8.25”D x 8.25”W

Floating Mirrored Glass Coffee Table, c. 1932

A seemingly simple yet brilliantly conceived sofa table by Jacques Adnet (1900–1984) dated to 1932. The design consists of three parts: a mirrored Saint-Gobain glass top that slides into two ebonized oak leg panels, joined by a concealed central support beneath the glass. This hidden design element gives the illusion that the table is floating. The table’s minimalist silhouette and refined materials reflect the early 20th-century transition toward industrial elegance, highlighting the innovation and subtlety of 1930s French Modernism.

Bibliography: Art et Décoration, July, 1932, p. 217.

Hardy,  Alain-René; Millet, Gaëlle, "Jacques Adnet." Les Éditions de l'Amateur, 2009, p. 72, 200, 201.

15.5"H x 45"W x 12"D

Green Vase with Relief Decor, c. 1920

A low, spherical form vase glazed green and decorated with a horizontally running geometric frieze by Émile Decoeur (1876-1953). Decoeur's work was once aptly described by a critic as “sober in form and opulent in material.” His creations can be categorized by restraint, graceful proportions and glazes rich in depth and color. The subtly dimpled surface of the vase captures the multi-tonal variation of the green glaze, adding tactile dimension to its otherwise minimal silhouette. The calm, organic qualities of Decoeur’s work are a distinctive contribution to modern French pottery, characterized by formal simplicity and a refined technical approach that together evoke a quiet grace. Impressed on underside: “ED"

Provenance: Christie's Mason and Woods, December 14, 1985, Lot 162. The Collection of Susan and Peter Hut (acquired from the above).

4.75”H x 6.25”W x 6.25”D

Stool, c. 1915

Inspired by Ancient Egypt, a stool crafted in stained oak by Liberty & Co. circa 1915. Founded in 1875 by Arthur Lasenby Liberty, Liberty & Co. quickly became a leading force in British decorative arts, known for its pioneering role in the Arts and Crafts and Art Nouveau movements. By the early 20th century, Liberty & Co. was also drawing inspiration from non-Western cultures, incorporating exotic motifs and forms into its furniture lines to appeal to a growing interest in the wider world. This stool exemplifies the innovative and avant-garde design styles that Liberty & Co. helped popularize at the time.

Bibliography: Bennett, Daryl, "Liberty's Furniture 1875-1915: The Birth of Modern Interior Design." 2012, p. 290, pl. 7.112 (for similar model).

20.25"H x 18"W x 11.25"D

Spherical Vase, c. 1930

A spherical vase in fiery red copper with a decorative pyramid-form frieze bordering the top, hammered and patinated by Claudius Linossier (1893–1953). Linossier was a French master of Dinanderie—decorative hammered metalwork—renowned for his hand-raised copper vessels adorned with patinas and metal inlays. Fascinated from an early age by the idea of creating “colored metals,” Linossier left his native Lyon for Paris, where he trained with the prestigious silversmith Cardeilhac, learning inlay and enamel techniques. He later interned in the workshop of Jean Dunand, where he learned the technique of cast inlay and worked closely under the guidance of head coppersmith Kéco Zambon. While in Paris, Linossier found deep artistic inspiration in the Louvre, particularly in the red-figure pottery of the ancient Athenian artist Douris. Of him, Linossier wrote: “I have a magnificent master, Douris…He gave me my red, white and black palette—I have silver, iron and copper.” This classical influence shaped Linossier’s distinctive aesthetic, characterized by harmony of proportion and painterly colors rendered in metal. Unlike his contemporary Jean Dunand, who ran a large workshop, Linossier produced and decorated each of his roughly 3,600 works by hand, with only the help of one assistant. Through his balanced forms and sensitivity to material, Linossier was an artist without precedent in the 20th century decorative arts, whose legacy lies in his fusion of ancient ideals with modern french craftsmanship. This vase is etched with the artist’s signature to the underside.

Bibliography:  Gaillard, Jean, "Un Lyonnais Célèbre des Années Vingt: Claudius Linossier Dinandier." Éditions Lyonnaises d'art et d'histoire, 1993, p. 155 (similar examples). 

3.75”H x 4.5”W x 4.5”D

Stoneware Vase in Shades of Pink and Green, c. 1920

Émile Decoeur (1876-1953) began his career as a ceramicist under the apprenticeship of famed French ceramicist, Raoul Lachenal. Decoeur's work was once aptly described by a critic as “sober in form and opulent in material.” His creations can be categorized by restraint, graceful proportions and complex glazes rich in depth and color. The glaze of this vase is a subtle layering of pinks and greens with a bordering band of black at the foot and mouth. The calm, organic qualities of Decoeur’s work are a distinctive contribution to modern French pottery, characterized by formal simplicity and a refined technical approach that together evoke quiet grace. Impressed on underside: “EDecoeur."

Bibliography: Ader, Picard, Tajan. Collection Alain Lesieutre et a divers. Paris: Ader, Picard, Tajan, December 13, 1989. pg. 32 for similar model.

11”H x 5.75”W x 5.75”D

Mirror, c. 1910

A rare, grand mirror by Hector Guimard (1867-1942), leading architect and designer of the Art Nouveau movement. A gray-beige painted wood frame is adorned with Guimard's distinct stuccoed and carved details representing curved, organic forms of nature. Top and lower registers of the mirror encase hand-beveled glass mirror. This piece originates from a building designed by Guimard, likely contemporary with the developments on rue Agar, Gros and La Fontaine in the 16th arrondissement of Paris, built from 1910-1912. These buildings were built by the Société Civile Immobilière de la rue Moderne of which Guimard was a shareholder. Additionally, a similar model hung above a fireplace in the drawing room of Guimard's Mezzara Hotel in the 16th arrondissement of Paris.

Bibliography: similar model appears in Georges Vigne’s book, “Architect Designer Hector Guimard 1867-1942,” Delano Greenridge Editions, New York, p. 318-319.

55.75”H x 43”W

Glazed Chalice, c. 1910

A petite chalice or tazza glazed in tones of pale green, ochre and brown by Émile Decoeur (1876-1953). Decoeur's creations can be categorized by restraint, graceful proportions and glazes rich in depth and color - all aspects that are represented in this piece. The calm, organic qualities of Decoeur’s work are a distinctive contribution to modern French pottery, characterized by a refined technical approach and formal simplicity. Impressed on underside: “ED"

4.75”H x 4.5”W x 4.5”D

Model 329 (Blue Cup with Flared Sides) c. 1927

A cup set on a small foot with flared lip by François Décorchemont (1880-1971) in vibrant cobalt blue, with a delicately etched design surrounding the body. Décorchemont was a master of pâte de verre—a technique of kiln-formed glass—and played a significant role in the history of what the French term “arts du feu” (arts of fire). Décorchemont was renowned for his explorations in color and shape in glass, in which light plays an essential role. His technique was both an artistic endeavor and a sophisticated chemistry; the process began with coloring the glass by mixing crushed, colorless crystal with precious-metal oxides. This mixture was then fired at a high temperature for approximately 48 hours. After cooling, the glass was crushed down into cullet—small fragments of varying sizes—depending on the desired level of translucency and luminosity. Using a mold, the cullet was cast for an additional 20 hours of firing, followed by a 36-hour cooling period. This lengthy and complex process led to a transformation of materials that culminated in the finished piece - with no two editions being exactly alike. The author Véronique Ayroles summarizes Décorchemont’s importance as one of “rare creators who have been able to evolve their work from the naturalism of Art Nouveau to the rhythmic and refined geometries of Art Deco.”

Bibliography: Véronique Ayroles, “François Décorchemont: Maître de la Pâte de Verre”, Éditions Norma, 2006, p. 273.

4.5”H x 4.25“W x 4.25“W

Side Chair, c. 1906

A secessionist bentwood chair with upholstered back and seat. Gracefully sloped back and corner ball enforcement details on front legs. Most likely manufactured by J. & J. Kohn.

33.5“H x 16.75“W x 17.5“D

Cup, c. 1925

A hammered copper cup decorated at top edge with an undulating silver frieze by Claudius Linossier (1893–1953). Linossier was a French master of Dinanderie—decorative hammered metalwork—renowned for his hand-raised copper vessels adorned with patinas and metal inlays. Fascinated from an early age by the idea of creating “colored metals,” Linossier left his native Lyon for Paris, where he trained with the prestigious silversmith Cardeilhac, learning inlay and enamel techniques. He later interned in the workshop of Jean Dunand, where he learned the technique of cast inlay and worked closely under the guidance of head coppersmith Kéco Zambon. While in Paris, Linossier found deep artistic inspiration in the Louvre, particularly in the red-figure pottery of the ancient Athenian artist Douris. Of him, Linossier wrote: “I have a magnificent master, Douris…He gave me my red, white and black palette—I have silver, iron and copper.” This classical influence shaped Linossier’s distinctive aesthetic, characterized by harmony of proportion and painterly colors rendered in metal. Unlike his contemporary Jean Dunand, who ran a large workshop, Linossier produced and decorated each of his roughly 3,600 works by hand, with only the help of one assistant. Through his balanced forms and sensitivity to material, Linossier was an artist without precedent in the 20th century decorative arts, whose legacy lies in his fusion of ancient ideals with modern french craftsmanship. This cup is etched with the artist’s signature to the underside.

3.75”H x 4”W x 4”D

Vase with Stylized Leaves, c. 1915

A small, cast metal bud vase by Jean Dunand (1877-1942) with a three dimensional stylized foliage decor and gently tapered base. Stamped with artist’s cipher and signed.

Bibliography: Model pictured in Félix Marcilhac’s “Jean Dunand vie et ouvre,” Les Editions de L’Amateur, Paris, 1991, pg. 336.

3.5”H x 2.75”W x 2.75”D

Model 281 (Small Emerald Flared Bowl with Ribbed Frieze), c. 1925

A small, footed bowl by François Décorchemont (1880-1971) in translucent emeralds and raw umber, with a delicate decorative frieze surrounding the exterior. Décorchemont was a master of pâte de verre—a technique of kiln-formed glass—and played a significant role in the history of what the French term “arts du feu” (arts of fire). Décorchemont was renowned for his explorations in color and shape in glass, in which light plays an essential role. His technique was both an artistic endeavor and a sophisticated chemistry; the process began with coloring the glass by mixing crushed, colorless crystal with precious-metal oxides. This mixture was then fired at a high temperature for approximately 48 hours. After cooling, the glass was crushed down into cullet—small fragments of varying sizes—depending on the desired level of translucency and luminosity. Using a mold, the cullet was cast for an additional 20 hours of firing, followed by a 36-hour cooling period. This lengthy and complex process led to a transformation of materials that culminated in the finished piece - with no two editions being exactly alike. The author Véronique Ayroles summarizes Décorchemont’s importance as one of “rare creators who have been able to evolve their work from the naturalism of Art Nouveau to the rhythmic and refined geometries of Art Deco.”

Bibliography: Véronique Ayroles, “François Décorchemont: Maître de la Pâte de Verre”, Éditions Norma, 2006, p. 267.

3”H x 4.5”W x 4.5”D

Parchment Table, c. 1940

A table by André Arbus, with elegantly sweeping lines that underscore Arbus’s affinity towards a neo-classical visual language. The “X” form legs and stretcher exhibit expertly carved and turned wood elements that add to the delicacy and grace of this piece. The parchment clad table top shows patina appropriate to the table’s age.

Bibliography: A similar model appears in Yvonne Brunhammer’s 2003 book, “Andre Arbus: architecte-decorateur des annees 40” on pages 138-139.

19.75“H x 33.5“W x 17.75“D

Silver Leaf Tray, c. 1910

A delicately hand-carved thin, wooden tray representing a single lotus leaf, gilt in silver. The surface is articulated with a fine network of radiating veins that converge at a small circular center, realistically rendering the botanical form. The edges of the leaf are irregular and undulating, mimicking the soft, natural imperfections of an actual leaf. Exemplifying the Meiji period’s deep reverence for the natural world, this piece showcases exceptional craftsmanship, combining organic expression with technical precision.

.5”H x 12.25”W x 11.5”D

Art Deco Gueridon, c. 1940

A French side table crafted from solid oak, featuring a round top with a gently beveled edge that highlights the rich, natural grain of the wood. Four gracefully curved legs rise from a circular plinth at the base, creating an elegant, upward sweep. The feet terminate in scroll-like volutes — a nod to classical architectural motifs while preserving the streamlined silhouette characteristic of the Art Deco period. The design reflects a careful balance between the geometric precision of Art Deco and the organic warmth of the solid oak wood (rather than the glossy veneer typical of the period), showcasing both traditional French craftsmanship and a refined sensibility of proportion. 

23.5”H x 22.25”W x 22.25”D

Silver-plated Modernist Table Lamp, c. 1930

A tall, elegantly proportioned table lamp reminiscent of the clean lines of Jean Michel Frank. The lamp's silvered metal base consists of a square foot and quadrilateral column that gently tapers towards the top. The silver base has naturally oxidized, but could be polished if preferred. Fitted with a newly-made taupe silk shade and wired for the USA with a black twisted rayon cord and inline switch. 

34.5”H x 12.5”W x 12.5”D

Silver Leaf Valet Stand, c. 1925

An outstanding silver leaf valet stand attributed to Paul Poiret - Atelier Martine, from the mid to late 1920s. Featuring gracefully carved scroll details which adorn both the bottom and top register. The stand has been expertly restored and is clad with hand-applied silver leaf, buffed to subtly reveal its red clay base.

44.5”H x 17.75”W x 17.75”D

Oregon Pine Screen with Brass Nailheads, c. 1935

A four-panel double-sided screen by André Sornay (1902-2000). Following his father's death in 1919, Sornay exited Lyon's School of Fine Arts to take the helm of his family's furniture business, which, up until that point, had solely produced 18th-19th century reproductions. In 1920, Sornay produced his own designs which incorporated his interest in the Bauhaus and De Stijl movements. Sornay's work championed pure modernist lines, meaningfully diverging from the work of his father and grandfather. Sornay's work and clientele was based primarily in Lyon, but in 1925, Sornay ventured out to participate in the Exposition Internationale des Arts Décoratifs et Industriels in Paris. This did not result in fame similar to some of his Parisian contemporaries, but it provided him an international platform and built his following. Sornay produced work in precious woods, but his most distinctive designs utilized the species Oregon pine. Perceived as a rare and exotic material in France, Sornay would sandblast the pine to bring out the species' distinct and exaggerated grain. Most often Sornay would elicit tones of orange, amber and deep chocolate through the various treatments he employed. In 1932, he invented and patented a decorative detail that would become the signature of the Sornay company, known as "cloutage." This technique involved hammering in small brass nails, usually aligned, into the wooden surfaces of his work. This "cloutage" was not only aesthetically pleasing but also served a functional purpose, reinforcing the structures and stability of his woodwork. This screen bears both of Sornay's enduring signatures: rich treatments of wood and brass nailhead detailing.

Bibliography: Thierry Roche, "André Sornay", éditions Beau Fixe, 2002, p. 114.

Overall: 76”H x 93”W x 1.25”D

Each panel: 76”H x 23.25”W x 1.25”D

Octagonal Plate, 1914

A dinanderie metal plate by art deco master Jean Dunand (1877-1942). Patinated metal surface with radiating, stylized feather decor. Stamped with artists cipher to underside and marked along the underside edge “JEAN DUNAND 1914.”

Bibliography: model pictured in Félix Marcilhac’s book, “Jean Dunand vie et œuvre”, Les Éditions de l'Amateur, Paris, 1991, on p. 269.

1“H x 11”W x 11”D

Sideboard, c. 1930

A monumental case piece made of solid Mahogany wood with Cherry wood veneer applied to the exterior in an expanding sun ray pattern. Hand-carved trapezoidal knobs contrast against the subtle pink tonality of the wood. Original keys included.

49.25”H x 62.75”W x 20”D


Pewter Top Side Table, 1930

A side table with triangular top in pewter supported by three black lacquered legs, designed in 1930 by Nils Fougstedt (1881-1954). Fougstedt was a Swedish sculptor and craftsman who worked primarily in metals. In 1924, he joined Estrid Ericson (1894 – 1981), a talented 30 year old art teacher with an inheritance, in founding Svenskt Tenn. The pair opened a shop selling primarily pewter objects at reasonable prices, which they made themselves in the workshop behind the store. The resulting popularity of Svenskt Tenn over the years led the enterprise to expand to become the leading design company of Sweden. Table edge is stamped with manufacturer's marks and date code (D8 = 1930).

Bibliography: ‘Svenskt Tenn' Catalogue, 1929.

19.75”H x 23”W x 11”D

Iron Firescreen, c. 1925

Edgar Brandt (1880-1960) was a prominent metalsmith who championed the synthesis of traditional forging methods with dynamic designs and modern tooling. Brandt imbued his work with a sense of whimsy through the incorporation of stylized forms inspired by nature. As a well known figure of the early 20th century, he gained acclaim through his extensive contributions to the 1925 Paris Exhibition. This wrought iron firescreen of Brandt’s displays a geometric chevron pattern accented with petit spirals and undulating lines. These organic forms, considered to symbolize wind and air, align with Brandt’s proclivity for the natural whilst being staunchly placed in the deco period through its material and angularity. Stamped “E. BRANDT.”

Bibliography: Similar model appearing in “Art et Industrie,” 1929, vol. 11, pg. 34.

29.5"h x 23.5"w x 4.25"d

Vase, c. 1930

Maurice Gensoli (1892-1973) was an influential figure in the progression of ceramics during the 20th century. From 1921 until his retirement in 1959, Gensoli worked for the National Manufacture de Sèvres, leading and overseeing the ceramics department towards a new modernism. Despite his all-consuming position, he managed to produce his own work, exhibiting at the Salon des Artistes Décorateurs and the Salon d’Automne. A skilled technician, Gensoli mastered the surfaces of his high-fired stoneware and porcelain, contrasting material textures with rich, nuanced glazes. The body of this bulbous form vase is adorned in a dark, thick glaze with a metallic iridescence. Variance and rippling in the glaze creates a rich nuanced black. Impressed at underside with artist's monogram and fish mark.

6”H x 7”W x 7”D

Set of Silver Boxes, c. 1930

During WWI, Jean Després (1889-1980) worked in a military workshop manufacturing airplane engines, which would inform his artistic sensibility when he joined the Modern movement to create jewelry and decorative objects. In this diminutive set of 5 graduated boxes, Després's skill is on display down to the smallest detail. There is no illusion to the materiality of the metal; the work is precise while highlighting the touch of the human hand through the playfully reflective hammered surface. Each box is made up of a bowl, resting on a footed form, topped with a flat lid adorned by a four ball finial. Each tiny box is stamped, hallmarked and etched "J. Després"

Largest: 1.5”H x 2”W x 2”D, Smallest: .75”H x 1”W x 1”D

Table Lamp, 1925

A rare art deco table lamp by Raymond Subes (1891-1970) in wrought iron and alabaster. The shade is original, originating from the back stock supply of Subes’s workshop at the time of his death. Unused until this point, this shade presents without the “burnt” and yellow discoloration of alabaster shades dating back to this time. An exceptional piece.

Bibliography: similar model appears in mobilier et décoration d’interieur, 1925, page 189.

14“H x 4.5“W x 4.5“D

Vanity, 1925

A vanity or dressing table attributed to French designer Lucie Renaudot (unknown-1939). A centered nickel-framed mirror with original glass balances over a flat table top that holds a front drawer. To either side, are cubbies whose doors open upward to provide additional storage while forming interesting angles on the piece.

40.5“H x 38“W x 16.75“D

Modernist Diamond Table, c. 1928

A French modernist oak side table composed of two diamond shaped surface panels, gracefully suspended between two right angle corners that extend to the floor. Displaying a beautiful wood grain and warm, weathered patina appropriate to the table’s age.

23.25“H x 21.25“W x 19.25“D

Pair of Armchairs, c. 1945

Rustic elegance is portrayed in this pair of stately wooden framed armchairs with woven straw seats designed by André Arbus (1903-1969) during the reconstruction period in France. Similar model appears in “André Arbus: architecte-décorateur des années 40” by Yvonne Brunhammer, 2003 on page 205. Seat height: 18.75”

44.75“H x 25.25“W x 20“D

Tea Table, c. 1927

D.I.M. (Décoration Intérieure Moderne) was founded in 1919 by René Joubert and Georges Mouveau and (later) Philippe Petit. This ebonized rosewood tea table captures the spirit of the modernist era through the dynamic geometric shapes and angles which enhance its base. The table is topped with a slab of French Rouge Griotte marble - crimson red with subtle cream dots and veining throughout. 

Bibliography: Bonney, Thérèse. "Library corner. Paris, 1930. D.I.M. (Décoration Interieure Moderne), decorators.” 1930. Therese Bonney photographs, 1925-1937. The Regents of the University of California, The Bancroft Library, University of California, Berkeley. 

Model pictured in Mobilier et Décoration, Février 1927.

23.25"H x 43”W x 19.5”D