Art Deco Furniture & Works of Art

ART DECO FURNITURE AND WORKS OF ART

My collection of fine antiques pays homage to my early years at Mallett at Bourdon House. Trained at the ‘school’ of Mallett, I continue to deal in a wide variety of high-quality antiques and works of art while maintaining an ever increasing standard of quality and originality.

I have curated a collection that is distinct yet harmonious with antique furniture and objects chosen for their fine quality and unusual character.

51930’s ART DECO POLISHED STEEL GUERIDON TABLE As a stylised flower Height 30in 76cm Diameter 38in 97cm £7500

RAYMOND SUBES

1891 - 1970

A former student of the ecole Boulle and the National School of Decorative Arts, Raymond Subes is one of the most celebrated French Ironworkers of the Art Deco Period.

Subes collaborated with the greatest designers of his day, Jules Leleu, Michel Roux Spitz, J. E Ruhlmann

6WROUGHT IRON COFFEE TABLE

4WROUGHT IRON STANDARD LAMP

Height: 18.25 in Width: 35 in Depth: 22 in £6,500

Height 67in 170cm Width 25.5in 65cm Depth 23in 58.5cm £7,500

5SAVOY PLAZA TABLE

U Specimen Rare Mid Century Italian Alabastro di

Original 1941 Savoy Plaza Occassional Table retaining its original leather Greek Key Border and mirrored top.

Height 44.5cm (17.5in) Diameter 61cm (24in)​ £1200

Polombara, Gibraltar Stone Alabastro di Polombara is fine grained, compact and unusually opaque. Bands of pure white and rich brown are straight or curved depending on which way the stone is cut. It is the most distinctive of the many alabaster fragments found in the grounds of the Villa Polombara on the Esquiline Hill of Rome.

Hidden within the famous Rock of Gibraltar is a huge network of more than 150 caves. It is monumental outcrop of Jurassic limestone. Rainwater percolating through fractures in the stone has worn huge caverns and the sea has played its part too, in eroding the rock.

5Exceptional & Rare Mid Century Italian Alabastro di Polombara, Gibraltar Stone & Brass Cocktail or Coffee Table, Circa 1955.

Height: 17.75 in Width: 36.8 inches Depth: 23.25 in A stunning, incredibly detailed beautifully designed masterpiece, incorporating the rarest stones. ÂŁ6,900

4Pair of Ouroboros Cast Iron Snake Mirrors France circa 1930 Diameter 41 in

5A pair of 1950s mid century novelty wall lanterns and flower pot holders. Painted in variegated colours of green white and yellow. the diamond shaped fixing are horizontal and vertical.

Height 31 ins (79cms) France circa 1955

5Salted Roasted Almonds to accompany two Early 20th Century Bell Shaped Cocktail Shakers

Manhattan Stirred over ice, strained into a chilled glass, garnished, and served up.

2 Parts Rye Whisky, ½ part Martini Rosso. Optional: 1 dash Angostura Bitters.

The Lillet Blanc & Gin Pour the gin and Lillet into a cocktail shaker with ice. Shake enthusiastically until cold, and strain into a cocktail glass. Garnish with lemon or orange peel – or a twist if you’re looking for a bit more visual pizzazz. The cocktail will take it from there....

6An Art Deco chrome plated bottle carrier designed by Adnet An Art Deco chrome plated bottle carrier designed by Jacques Adnet the neck support for the bottle is adjustable.

Jacques Adnet (1901-1984) France circa 1940 Height 10 inches (25 cms)

4Very rare early 20th century Asprey & Co .925 sterling silver and cut-glass crystal pitcher decanter with a hinged silver lid and ice container.Weighs over 7 lbs.

England, circa 1930 Very elegant, beautiful and a “must have” final touch to your silver service.

Height 30cm (11.63in) ​ Diameter 19cm (7.5in) £2900

3A pair of Art deco mahogany and lemon-wood

6A pair of Art Deco period Japanese export speckled

commodes.

France circa 1925 In the manner of Mercier a Paris

lacquer low tables.

Height 35 ins (88 cms) width 46 ins (117 cms) depth 20 ins (51 cms)

Height 16 ins (41 cms) width 16 ins (41 cms)

Japan circa 1930

ÂŁ3500 ÂŁ18,500

5A Zodiac eglomise glass panel in white and gold with deep engraving, depicting fantastical variants on the traditional representations of the signs of the zodiac.

France circa 1945 Pierre Lardin 1902-1982.

His work can be seen in:The Musee des Arts Decoratifs in Paris, The Musee D’Art Moderne de la ville de Paris, The Musee National Adrien Debouche de Limoges Lardin is primarily known as a master of glass cutting and decoration. He studied in Paris at the Ecole Boulle between 1916 and 1920, and then moved on to work with Maurice Dufrene until 1924; he collaborated with Edgar Brandt and the jewelers Cartier.

In 1921 he exhibited at the Salon des Independents; in 1925 at the Exposition des Arts Decoratifs (widely considered to be the key exhibition of the Art Deco movement) he was awarded a gold medal. He went on to receive many awards and accolades including recognition from the Academie Francaise for his work in Cracow as a prisoner during the war. His work is collected and prized for its combination of fantasy and technical achievement.

Diameter 28 in (72 cm)

ÂŁ9,500

5A small scale French 1940s wrought iron circular low table, having an elaborate scrolling frieze and stretcher, all decorated with a green lacquer with gilt wash enrichment.

The design derives from the oeuvre of Rene Prou and Rene Drouet both of whom employed these decorative scrolling motifs to their iron furniture.

Height 20 inches (51 cms) Diameter 28 inches (71 cms) ÂŁ3500

4Gold and Crystal Torotoise Bell ÂŁ1250

5An art deco nickel plated dish light - simulating a spinning propeller. - See Front Cover France circa 1935 Height 24 ins (61 cms ) Diameter 24 in ( 61 cms ) ÂŁ2,500

5In the Manner of Syrie Maugham, A fine mid 20th century carved giltwood low table and exceptional veneered Brocatelle Violette marble top.

Height 53cm 21in Width 134cm 52.75in Depth 64 cm 25.25in £3,900 The low table is wonderfully rich with opulent ornament and bold gold leaf over the hand carved supports. the marble top is also a rich and very rare Brocatelle Viollette with a green verde antico boarder.

Syrie Maugham

(née Barnardo; 10 July 1879 – 25 July 1955) was a leading British interior decorator of the 1920s and 1930s and best known for popularising rooms decorated entirely in shades of white.

5A pair of Colombo

Sanguinetti ebonised side chairs. Stamped Sanguinetti

These chairs initially look like the work of Gio Ponti and echo his legendary delicate and feather light ‘superleggera’ chair. However which came first? It is true that Ponti found his inspiration in the mass produced Chiavari chair, that chair is the inspiration for these too, Both chairs saw their genesis at the end of the 1940s and first years of the 50s.

Italy circa 1950 Back Height 36 ins (90 cms) seat height 19 ins (48 cms) width 17 ins (43 cms) depth 17 ins (43 cms) £3,500

5An Art Deco figured walnut display table, the glass top removes to reveal a green baize cushioned interior. The whole standing on square tapering legs.

England circa 1930

Height 30 ins ( 76 cms); the top 31 ins ( 80 cms ) square ÂŁ3,500

3Calcutta, Indian ebonised Solomonic Column Lamp Circa 1930 Height 58in top of black column 147cm Diameter of base 15in 38cm ÂŁ1950

5England, c. 1920A fine circular wooden box with domed lid, veneered throughout with shagreen and mounted with silver. The inside lid retaining the J Paul Cooper stamp.

Height 9.50cm (3.74 inches) Diameter 9.00cm (3.54 inches)​ Literature:

John Paul Cooper

(3 October 1861 – 3 May 1933) was an architect and a leading craftsman in the Arts and Crafts Movement, specialising in metalwork and jewellery. He is particularly noted for the use of materials such as shagreen and ostrich egg in combination with precious metals and gemstones. £2900

5Art Deco Pair of very fine gilt bronze and tole table lamps, standing on square bases supported on winged cupids, the tapering fluted column with burnished gold highlights on a stepped circular foliate bronze mount and surmounted by a foliate capital.

Height to the top of the column 21 inches 53cm ÂŁ3,750

A Pair of Art Deco Table Lamps By

DOMINIQUE

Genet and Michon

5France, circa 1930​ The arms of patinated and gilded bronze issuing from an octagonal column above a domed parchment vellum base bound with lacquered brass band, designed by Dominique and made by Genet and Michon, Height 33cm Width 32cm Depth 16.5cm

ÂŁ4,900

Dominique is the common name designating two artists who collaborated so closely with one another since 1920, that we cannot dissociate their respective works and contributions. Marcel Genévrière was born in Rouen, on July 2, 1885. After studying literature, he dedicated himself to journalism and worked for ten years as an art critic for “Comcedia,” “Gil Blas” “Intransigeant” and “Paris Magazine.” In 1920, he founded, together with André Domin, the firm “Dominique.” André Domin was born in Caen, on July 8, 1883. Having obtained a law degree, nothing seemed to predestine him to a career as a decorator other than a proclivity for drawing that dated back to his childhood. A self-taught man, he received no specialized education. Undoubtedly, Domin was decisively influenced by his friendship with Paul Iribe. Indeed, when the latter vacated his premises at Faubourg SaintHonore, Domin decided, with Marcel Genévrière to establish his decorating house there. Domin was President of the Artistes Décorateurs Union from 1936 to 1939, as well as the Société des Artistes Décorateurs from 1943 to 1945. Vice-President of the Union of Artistes Décorateurs Créateurs d’ensembles and the Steering Committee of the Center for Art and Technology, juror for the 1925 and 1937 exhibitions, André Domin was named a knight of the Legion of Honor in 1927.

Starting with the 1925 Salon du Palais des Ambassades, Dominique participated in all the major exhibitions. It partook regularly in the Salons des Artistes décorateurs: in 1935 in Brussels (award), in 1937, with different exhibition pavilions: shipping, Normandy, private architecture, decorators and furniture (out of the competition).

Dominique realized important collections of furniture in France and abroad. Since 1933, it was employed by the Compagnie Générale Transatlantique to furnish ocean liners. The state entrusted Dominique with the decoration of the Landscape Exhibition at the Elysée Palace and it received numerous commissions from Mobilier National.

There is a “Dominique style,” the essential principles of which quickly caught on and proved lasting. It endured all the more after 1920 when the “modern style” advocated by pioneers like Frantz Jourdain began to assert itself, dispensing with the soft lines and floral decorations that Dominique had so decisively rejected.

Despite its apparently rectilinear forms, Dominique furniture was acutely attuned to the importance of accommodating the smooth curves of human form. This is perhaps also manifest in the felicitous use of delicate inlays of copper and tin metal or fine strips of gilded bronze. In this same spirit, one discerns a strong penchant for beautiful woodwork and its ornamental and technical refinements.

The designs which use Dominique’s graphic arabesques have a sober elegance. Furniture feet are often sheathed with bronze engraved hooves cleverly reminding one of their bodily construction.

All these elements, wisely brought together, harmonise with precious woods: while Dominique furniture is responsive to the concrete issues facing modern home furnishing and its functional necessities, it nonetheless remains luxurious. Its refined luxury cautiously avoids vain and sumptuous decorative excesses while accommodating to the rhythms of our own time to perpetuate the great classical tradition.

Gilbert Poillerat 3A 1940s Steel Lampstand attributed to Gilbert Poillerat A rare and unusual modernist iron lamp stand,fashioned as a column with multiple ribs and collars,standing on a tripod of scroll legs and surmounted by a stylized globe with a ribbed cup above.

Attributed to Gilbert Poillerat.

France circa 1940 Height 58 in (148 cm)

There have been many important French designers associated with Art Deco and through the 1930’s, ‘40’s and beyond who worked in wrought iron. One usually thinks of Edgar Brandt, Raymond Subes, and Paul Kiss. For quite a while, when Art Deco was enjoying its first flush of recognition in the 1970’s, Gilbert Poillerat remained relatively unknown. This would soon change as the natural progression of design exploration began to move into the 1930’s and beyond, and Poillerat would emerge as one of the most original and important designers of his time.

Gilbert Poillerat was born in 1902 in a small town in France that, oddly, had three names - Mer, Loir et Cher. Like many other furniture designers, he attended the famed École Boulle, where he trained as a metal chiseler and engraver, graduating in 1921.

Following his graduation, he worked with arguably the best and most influential wrought-iron master - Edgar Brandt. He worked for Brandt for over seven years in both design and production. There can be no doubt that this time was hugely important, not only in furthering his training and perfecting his technique, but also exposing him to the new ideas that had blossomed forth during the Art Deco movement, when wrought-iron escaped the constraints of tradition that had kept it static for so long.

In 1927, Poillerat left Brandt, and began working for Baudet, Donon and Roussel, a firm specializing in construction frameworks. He was placed in charge of their decorative iron-work division, which produced tables, screens, grilles, andirons and lighting. This was the perfect opportunity to hone his skills, and also to evolve his own styles.

Whereas many of the other important wrought-iron designers incorporated flowers, birds and other images from Nature into their work, Poillerat’s work was closer to calligraphy, and was quite original. In 1928, he first exhibited at the salon d’Automne. His earlier works were studies in fluidity, with complex intertwining of wrought iron in his “calligraphic” style, and often, the wrought iron was gilded.

In 1934, he decided to try his hand at jewelry (the famed American wrought iron artist Albert Paley has similarly made some very beautiful jewelry). Poillerat was designing jewelry for the famed French couturier Jacques Heim.

In 1935, he was commissioned to design the First Class pool and patinated doors for the ocean liner Normandie.

During this time, though, Poilleral was busily at work designing all manner of furniture and other architectural elements. Tables and consoles were particular specialties, but he also designed table and floor lamps, hanging fixtures, and grilles intended for various purposes.

Poillerat drew inspiration from many sources. He was interested in historical architecture, and one can find elements of Rococco, Directoire and Louis XIV. While he did not embrace floral motifs, he did find elements in Nature to work with, such as massive branches, sun-bursts, corals, poillerat-table-lamps-chimney-19x8-in.jpgleaves, and

in several stunning pieces, the skull of an antelope. These were often twined with twisted ropes of iron and tassels, which were a favorite motif of his. One also finds shells, feathers and fluted cups in his furniture designs.

Often, he would embellish a piece with metal worked and gilded to look like draped fabric, and globes astrolabes and stars were also used abundantly in his designs, as were complex entrelac designs. Many of his pieces have a distinct Medieval feeling, with suits of armor, and ornate bows and arrows. He selected beautiful marbles to compliment his tables and consoles. In fact, his repertoire of design motifs was so extensive as to almost defy description, but everything he did was marked by his very distinctive personal style.

poillerat-floor-lamp.jpgPoillerat collaborated with many of the leading designers of his time, among them André Arbus, Jean Pascaud, and Vadim Androusov, and his out-put ranged from domestic interiors to museum exteriors.

In 1946, Poillerat left Baudet, Donon et Roussel, and he was named professor at the esteemed École National des Arts Decoratifs, where he taught for 26 years, while continuing his prodigious output.

Moving into the 1950’s, Poillerat’s designs, in keeping with changing tastes, became much simpler and more severely rectilinear, relying on perfect proportions for dramatic effect, and he continued to remain an important figure in French design.

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4GILBERT POILLERAT WROUGHT IRON AND WATER GILT TABLE LAMP France, circa 1940 A rare and unusual modernist wrought iron table lamp with gold leaf details, fashioned as a solomonic column with shaped gilt drip pan, standing on four scroll feet.

By Gilbert Poillerat.

Published in ‘Gilbert Poillerat , Maitre Ferronnier’ Height to top of metal nozzle 15in 38cm Width 7in 18cm Depth 7in 18cm £9,500

3Art Deco Asymetric Etagere Possibly Russia circa 1920 Tubular steel Art Deco Shelves, Retaining its original shelves, re-lacquered in the original colour.

5Fabulous large scale Val St. Lambert vase, striped red over clear, in curved vertical bands above a cross cut to clear base. Each stripe with small red pendants to either side. Exhibited at the 9th EEMO Exhibition in Brussels, (Engraved on the base) Retaining its original box

Height 110 cm Width 39 cm Depth 94 cm

Height 9in 23cm Diameter 6in 15cm Weight in excess of 4kg ​

£1,500 £1,250

3An unusual mid century polished steel desk chair of

6A pair of fine quality early 20th century tubular

unusual form. Having a slatted back and scroll arms above tapering legs each framing a serpentine motif.

steel occasional chairs in the manner of Michael Thonet. Now upholstered in leather.

Height 36 in (90cm) Width 21 in (54cm) Depth 26 in (56 cm)

Height of Seat 18 inches (46cm)Height of Back 35in (90cm)Depth 16in (40cm)Width 16in (40cm)

England circa 1940

£3,500

£2,500

The mid-20th century (roughly from 1933 to 1965) saw a dramatic outpouring of creativity in architecture, graphic design, and industrial design. Furniture and buildings with clean, sweeping lines and surprising design elements came on the scene. The book “Mid-Century Modern: Furniture of the 1950s” by Carla Greenberg cemented the term “mid-century modern” to refer to the style of furniture, art, and architecture popularized during this time period.

Today, mid-century modern furniture is enjoying a resurgence as a popular choice for households across the country. The fact that buyers are still willing to pay high prices for authentic mid-century modern pieces testifies to the genius of designers like Charles and Ray Eames, Eero Saarinen, and Herman Miller.

5Very Fine & Rare Early 20th Century Italian Onyx & Verde Antico Cocktail or Coffee Table, Circa 1935.

Constructed using only the finest stone, this truly exquisite & refined table is a masterpiece in design. The outstandingly beautiful colours & detail throughout exhibits a spectacular flow around the whole table. The superb bookmatched veneer figuration, highly detailed vein cut crossbanding & Verde Antico moulding are the finest you will see. The top sits on an elegant & robust brass base. It is in very good condition for its age. Onyx has many varieties & it is often difficult to precisely place the stone used and its location, however, the onyx used within this table is without question exceptional. Verde Antico, or Verd Antique, or Verde Antique, as you know, is a serpentinite breccia, popular since ancient times for its decorative uses & is regarded as one of the finest & most valuable of stone. It was known to the ancient Romans and was quarried especially at Casambala, near Larissa & Thessaly, in Greece. Verde antico was much used by the monumental builders of the Byzantine Empire and by the Ottomans after them. The term “Verd Antique” has been documented in English texts as early as 1745.

Width: 40 inches Depth: 21.25 inches Height: 19.5 inches Circa 1935 £3,900

3An Art Deco brass cylindrical lantern having a reeded internal chandelier.

Unusually the glass is a complete cylinder surrounded by column pilasters.

Height 22in 56cm France, circa 1940 ÂŁ3,500

Paul Jacoulet – the “perfect synthesis of the Eastern and Western worlds” Paul Jacoulet ​ Paul Jacoulet (1896-1960) has an immensely abundant legacy of over 160 woodcut prints in addition to an excess of 3,000 watercolours and drawings. His works are a triumphant harmony of both Eastern and Western cultures that he was exposed to throughout his lifetime, recently acknowledged in an exhibition at the Bibliothèque Nationale de France in 2011.

Born in France, Jacoulet grew up in Tokyo after his father, a university professor, was hired by the Japanese government to teach French to young officials and aristocrats. Having been raised within an environment of education and culture, Jacoulet was fluent in Japanese language and sociability. He studied a wide range of Japanese traditional arts, including the art of woodblock printing, which he did so under the tutelage of Shizuya Fujikake from approximately 1931.

Jacoulet’s work takes its inspiration from his immediate surroundings in Japan, Korea and later the Pacific Islands, fused with a sense of Western ideals from his knowledge of art in France and other European countries. His prints almost exclusively depict people as their subject, predominantly either as portraits or incidents of daily life and are therefore fruitful sources of dress and social customs. He remained faithful to the traditional ‘ukiyo-e’ genre of Japanese woodcuts but diffuses into it new subject matter and the adoption of atypical colours, resulting in his vivid and colourful representations of people and scenes. ​ Jacoulet’s commitment to maintaining the integrity of the woodblock print as an art form was demonstrated by his pursuit of perfection in ensuring only high quality work was produced and his active involvement throughout the printing process. In 1931, Jacoulet created the Jacoulet Institute of Prints in order to self-publish his work and was one of the rare publishers who visibly credited the carvers and printers within the margins of the prints themselves.

The greatest reflection of his triumphant synergy of East and West is perhaps his professional success within Japan itself, rendering Jacoulet’s work far more than merely westernised interpretations of the East.

4PAUL JACOULET, WOODBLOCK PRINT : LES ENFANTS AUX YEAU JAUNES 1940 Limited Edition 169 / 350

Korea Series

Korea Series

Pacific Island Series

A SET OF 12 WATERCOLOURS OF EXOTIC BIRDS Each bears a pencil manuscript inscription which in some cases may be wrong and some contain some misspellings but nonetheless record a period of work between 1919 and 1932.

The birds come from all over the world: 3 are from Australia, 1 from Singapore, 2 from North America, 2 from South America, 1 from Rajasthan, 1 from Europe, and finally 2 from Kenya.

The artist signs each one with his initials, possibly MML .Framed height 19 ins (48cms), ​ Width 17 ins (43cms) £12,500

5France circa 1940 ​ Set of 6 Modernist Tole Cafe chairs decorated on a brown A ground with the stylised decoration of a military drum, the back and feet in oil gilt. £6,900 Height 35 in (88 cm) Width 22in (56 cm)

Mid-century polished brass and glass Champagne bar carts Maison Jansen, France, circa 1955 Length 28 in Width 18 in Height 26 in

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