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

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

‘Model 5050’ Vase, c. 1930

A tall vessel with a flared opening and slightly recessed foot by Swiss-born ceramicist Paul Ami Bonifas (1891-1967) circa 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 simple 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 ‘5050’ in the product catalogue of “Les terres lustrées noires de Paul Bonifas” of 1930. Signed “Bonifas” on underside.

7"H x 6.25”W x 6.25”D

Pair of Stools in Limed Oak and Cowhide, c. 1940

A pair of “sheep bone” stools with limed-oak bases, topped with ivory-colored cowhide seats and silver nailhead detailing. Designed by a French decorator in the 1930s/1940s in the 17th century French style.

17.5“H x 18.5“W x 18.5“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

Pair of Silvered Bronze Drinks Tables, c. 1940

A pair of elegant drink tables produced by Maison Jansen with finely fluted tripod bases terminated with ball feet. The craftsmanship of each component is of exceptional quality. Additionally, each table is demountable. Patina and wear to the metal finish. Each table top tray is imprinted with a tiny hallmark.

22.5"H x 13"W x 13"D (Tops: 9.75"W)

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

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

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

Glass Vase, c. 1930

Departing from the dainty glassware popular in the 1930s, André Thuret harnessed his background in molecular chemistry to capture the fluidity of glass in his biomorphic vessels. Each glass creation was a new experiment, executed by hand, so no two are exactly alike. Signed at underside.

6.5”H x 8.75”W x 8.75”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

Daybed in Bleached Ash, c. 1937

A low, elegant daybed composed of bleached ash wood with impressive end-grain cut arm supports, after a design by Jacques-Émile Ruhlmann (1879-1933), Alfred Porteneuve’s uncle. Alfred Portenueve (1896-1949) was responsible for completing many of Ruhlmann’s designs and carrying on his legacy after his death in 1933. Reupholstered in a mauve Dedar silk with relaxed down-filled bolsters.

14.25" H x 77" W x 33.75" D

Meridienne, 1937

A daybed by innovative Lyonnaise furniture maker André Sornay (1902-2002) commissioned by industrialist Michel Trux and his wife Anna. In 1932, the Trux family took residence at 5 rue Tête d'Or in the 6th arrondissement of Lyon and commissioned Sornay to produce all of the furniture for their new home. Following the passing of Michel Trux in 1933, his wife Anna purchased a large property in Fleurieu-sur-l'Arbresle, where she once again brought on Sornay to design the home and furniture throughout. This daybed was part of the Trux family's collection of works by Sornay and highlights the inherent elegance of Sornay's designs. Generous in scale, the seat and backrest of the daybed gracefully taper and flare. The upholstered portion of the piece seems to balance upon three blocks of lime washed Oregon pine, lending a playful sense of levity to the piece. A daybed that prioritizes geometric lines is imbued with a sense of softness through the subtle flare and bow of the nose and the buff-tone silk matelassé upholstery. Between 1939-1945, Sornay's studio burned down and much of his archive was destroyed, making it especially notable that this daybed is accompanied by a copy of the original design sketch by Sornay.

32”H x 29”W x 79.25”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

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

Rare Melusin Vase, c. 1906

A graceful, tall vase by Loetz attributed to designer Marie Kirschner (1852-1930). Marie Kirschner was a German-Bohemian glass artist and painter born in Prague. From 1900 to 1914, Kirschner created the most extensive collection of her own products ever realized by a single artist at Loetz. Characteristic of her work, which anticipates the principles of modernity and even functionalism, are geometric shapes, subtle surface designs and gradient colors. In this piece, a linear pattern twists up the body of the vase, highlighting the gauzy and iridescent quality of this particular glass decor known as “Melusin.” The Melusin decor of glass, produced by Loetz between 1905-1913, was fashioned from rolling dense opaque trailings in steel-grey between layers of colorless crystal glass. The result was an ethereal and highly dimensional effect, akin to rippling water or shining silk. This decor was often used by other Loetz designers as well such as Josef Hoffmann and Koloman Moser.

Bibliography: H. Ricke (ed.), Lötz, Böhmisches Glas 1880–1940, Munich, 1989, vol. 2, p. 162.

Provenance: From the Collection of Ann and Gordon Getty.

13”H x 4”W x 4”D

Pair of Armchairs, c. 1945

Rustic elegance is embodied in this pair of armchairs with woven straw seats and backs designed by André Arbus 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

Vase, c. 1930

A sculptural centerpiece comprising a blown opaline glass sphere and a nickel-plated metal base. During the 1930s, Jean Boris Lacroix (1902–1984) perfected the use of glass and metal, transforming “industrial” grade materials into objects of luxury in a Cubist style. While serving as the artistic director of Vionnet fashion house from 1924-1937, Lacroix also produced lighting, objects, and furniture under his own name. The pieces he created, modernist in the truest sense, standout for their pioneering mixing of materials and strict geometric vocabulary. Composed of reflective glass and metal, vase is a radical departure from traditional vases and table centerpieces of the time. Stamped at base. 

6”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

Hammered Silk Folding Screen, c. 1900

A two-sided folding screen, composed of five upholstered panels framed in richly patinated walnut. One side presents panels of tobacco green hammered silk while the opposite side shows panels in a textured light terracotta-colored raw silk. This extremely heavy and stable screen features the original patinated brass hardware from the turn of the century

74"H x 88.75”W x 1.25”D

(each individual panel measures 17.75”W)

Low Table, c. 1925

A thoughtfully designed rosewood pedestal table with a stepped base and a thick top with recessed edge detail. Similar table appearing in a bedroom designed by Louis Sognot for Atelier Primavera, featured in L’Amour de L’Art, No. 11, November, 1924, p. 372.

19.5“H x 28.5“W x 28.5“D

Table Mirror, c. 1929

A modernist silvered metal table mirror by the mysterious French design house Desny (1927-1933), founded in 1927 by the self-taught Clément Nauny (1900-1969). Despite this young design firm's short life span, Desny remains less known for their interior designs than for their striking creations in the areas of lighting and objects. Notably, Desny objects were placed in almost every room of the modernist Manik Bagh Palace by the Maharaja and Maharani of Indore. The couple even went as far as to feature some of these objects in an intimate series of portraits commissioned from Man Ray. An atypical designer and friend of Alberto Giacometti and André Masson, Clément Nauny was also the first to commission decorative art pieces from his artist friends for his interior design projects. Stamped "Desny Paris, Made in France, Deposé."

Bibliography: Desny, Miroir, 1929-1930. Moderne Maharajah: un mécène des années 1930. 26 Sept. 2019 - 12 Jan. 2020, Musée des Arts Décoratifs, Paris.

12"H x 10.5"W x 8"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


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

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

Covered Jar, c. 1930

A ceramic jar with a undulating form designed by Swiss ceramist Paul Ami Bonifas (1891-1967) around 1930. The pot’s ‘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 a “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 urn-like shape. In tandem with his admiration of simple 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. Signed “Bonifas France” on its underside. In good, vintage condition.

8.75”H x 6.5”W x 6.5”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

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

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

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

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

Cane Curule Stool, c. 1910

A generously proportioned curule stool with detailed hand-carved details. Fully restored in traditional French Polish. In the taste of Süe et Mare.

29.5“H x 24.75“W x 15.5“D

Vase Boule, c. 1929

A spherical silvered metal vase by the mysterious French design house Desny (1927-1933), founded in 1927 by the self-taught Clément Nauny (1900-1969). Despite this young design firm's short life span, Desny remains known today for their interior designs but most notably, for their striking creations in the areas of lighting and objects. Notably, Desny objects were placed in almost every room of the modernist Manik Bagh Palace by the Maharaja and Maharani of Indore. The couple even went as far as to feature some of these objects in an intimate series of portraits commissioned from Man Ray. An atypical designer and friend of Alberto Giacometti and André Masson, Clément Nauny was also the first to commission decorative art pieces from his artist friends for his interior design projects. Stamped "Desny Paris, Made in France, Deposé."

Bibliography: Model pictured in Art et Décoration, Février 1933.

Model pictured in Art et Industrie, Décembre 1932. p. 30

Billé, Raphaèle, and Louise Curtis. Moderne Maharajah: Un mécène des années 1930. 2019. p. 191

7"H x 7"W x 7"D