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

Vide Poche, c. 1925

A petite hammered copper catchall with an octagonal border, decorated with a silver sunburst pattern, emanating from a circular center. Rich patina. Etched “Linossier” on the outer edge of the underside.

.5”H x 5.5”W x 5.5”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

‘Model 5049’ Vase, c. 1930

A low vessel with flared opening on a slightly recessed foot by Swiss-born ceramicist Paul Ami Bonifas (1891-1967) from around 1930. The ‘gunmetal’ glaze is typical of the work Bonifas produced between 1922-1940 at his Paris studio Ferney-Voltaire. This finish, a black glaze with glossy iridescence, was the “result of an error,” as noted by Bonifas himself, caused by the dark brown clay bodies of his forms mixing with the black glaze formulation. Thoughtful simplicity of form was a paramount to Bonifas’s practice as he believed that all great forms had already been created by ancient civilizations. This idea is reflected in this work by its simple, archaic shape. In tandem with his admiration of ancient forms, Bonifas was an integral member of the movement L’espirit Nouveau which championed the idea that decorative arts should be without extraneous adornment. This, and other, black glazed works produced at Ferney-Voltaire underscore this sentiment through their sober tones and simplified shape. This piece appears as model number ‘5049’ in the product catalogue of “Les terres lustrées noires de Paul Bonifas” of 1930. Signed “Bonifas” on underside.

5.5"H x 7.75”W x 7.75”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

Bowl, c. 1930

André Thuret (1898-1965) began his career in chemistry with scientific experiments exploring the molecular changes in the heating and cooling of glass. These experiments led him, at the age of 26, to collaborate with French glass master Henri Navarre to execute his first glassworks in 1924. Harnessing his background in chemistry, Thuret was able to capture the fluidity of glass in his biomorphic and substantial vessels —a departure from the delicate, dainty glassware popular in the 1930s. Each creation was a new experiment executed by hand and, as such, no two are exactly alike. Thuret was part of many important design associations throughout his career including: Le Salon d’Automne, La Societe des artistes décorateurs and the UAM. The underside of this vase is etched with his signature “ANDRE THURET.”

2.75”H x 9.25”W x 9.25”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 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

Black Iridescent Glazed Ceramic Bowl, c. 1945

A glazed, oval earthenware bowl with a pinched opening, by Suzanne Ramié (1905-1974) created in her workshop, Atelier Madoura in the 1940s. Suzanne Ramié was an accomplished ceramicist who worked in Vallauris alongside her husband. In 1947, they welcomed Picasso into their workshop and it was there that all of Picasso’s ceramic production took place, while Suzanne Ramié continued her own ceramic work, creating unusual forms and employing rich glazes. Stamped with the "Madoura Plein Feu" mark.

3“H x 6.5“W x 3.75”D

Stepped Deco Vase, c. 1928

A ceramic vase by Robert Lallemant, showcasing the bold, streamlined geometry of the Art Deco period, with a stepped, architectural form and a dark brown, almost black, glossy glaze. Lallemant, a key figure in early 20th-century French decorative arts, was known for integrating streamlined, avant-garde forms into everyday objects. Active during the interwar period, he contributed to the modernist movement with works that bridged fine art and functional design, experimenting primarily with ceramics. This striking vase with a symmetrical body and simple glaze emphasize order and precision, hallmarks of the era’s aesthetic ideals. Signed at underside “R T Lallemant France”

Bibliography:

Art et Industrie, June, 1928, p. 45 (for similar model). 

Art et Industrie, December, 1928, p. 42 (for similar model).

10.5"H x 6"W x 5.25"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

Tripod Floor Lamp, c. 1940

A finely proportioned tripod base floor lamp by the esteemed French design house Maison Ramsay, dating to the early 1940s. Executed in gilt forged iron, the lamp exemplifies Ramsay’s distinctive blend of classical restraint and modernist clarity. The base, with its elegantly splayed legs and subtly articulated feet, recalls neoclassical antecedents filtered through the lens of mid-century French decorative arts. Fitted with a simple, closed-top drum shade in a tan linen to diffuse a warm light. 

62.5”H x 18”W x 18”D

Diameter of base: 17”W