Posts Tagged ‘art nouveau antique drinking cabinet’

ART DECO CHAIRS: BRITISH WALNUT CHAIR, FRENCH DESK CHAIR, ENGLISH C-SHAPE ARMCHAIR, FRENCH DINING CHAIR, FRENCH MAHOGANY SIDE CHAIR, BRITISH CURVED CHAIR, FRENCH ROSEWOOD CHAIR.

ART DECO CHAIRS tended to delight in
the taste for comfort and luxury. They boast generous proportions and were made from luxurious and inviting materials. Many chairs were designed as part of a salon suite that included a sofa and several chairs. Whether shaped in clean lines based on traditional forms or in more avant-garde, abstract forms, chairs were created to be both comfortable and pleasing to the eye.
LUXURY AND EXOTICISM
The French designers Emile Jacques Ruhlmann, Sue et Mare, and Paul Follot often based their chair designs on 18th-century forms, such as the bergere and the fauteuil d la reine. With shaped backs, slender tapering legs terminating in delicate sabots of ivory or bronze, and graceful, scrolling arm supports, these chairs were made from
sumptuous timbers, such as mahogany rosewood, and macassar ebony, and were often decorated with carving or inlays of exotic materials, including lacquer, tortoiseshell, sharkskin, and mother-of-pearl.
Upholstery played an important part in Art Deco chair design. Luxurious materials, such as the finest leather, exotic animal skins, and velour were used, and vivid colours and geometric or exotic patterns prevailed. The set designs and costumes of Serge Diaghilev’s Ballets Russel, Cubist and Fauve paintings, and African, Oriental, and folk art were all key decorative influences.
By the 1930s, many Art Deco chairs were designed along more geometric, abstract lines, with simple contours, and were made from new materials, such as laminated wood, tubular steel, chromed metal, aluminium, and vinyl.

The box-like shape and generous proportions of the chair recall the form of the bergere.
The frame is made of walnut - a richly I coloured frurtwood
favoured in the
18th century.
The cream-coloured leather upholstery coupled with the walnut frame creates a sense of opulence.
The black-leather trim contrasts dramatically with the broad, cream-coloured surfaces.
BRITISH WALNUT CHAIR
Part of a three-piece suite, this comfortable and luxurious armchair was produced by Hille & Co., who were manufacturers of reproduction furniture. The chair has a U-shaped walnut frame that forms armrests with gently rounded
corners, and is supported on a square, moulded, block base. The seat and the matching cushion are upholstered in fine cream leather and have a contrasting narrow black-leather trim. The U-shaped frame was a popular feature of many Art Deco pieces of furniture. c.1928.

FRENCH DESK CHAIR
This mahogany desk chair, by Maurice Dufrene, has an arched tub back and padded seat. The armrests end in bold scrolls and the seat is raised on scrolling, tapering legs. c.1920.
ENGLISH C-SHAPE ARMCHAIR
One of a pair of open armchairs, this has prominent, reverse C-shape armrests on squat, sabre legs. The avant-garde Cubist and Futurist movements influenced the pattern of the upholstery. c.1930.
This Swedish club chair is box-like in shape and has rounded, wooden armrests. The back, seat, and sides of the chair are upholstered in matt black leather with brass rivet details on the arms.
One of a pair of chairs designed by Paul Frankl, the armrests are curved and finished in black lacquer. The seat is upholstered in black vinyl with red piping. c.1927.
FRENCH DINING CHAIR
This elegant tall-backed dining chair is one of a set of six designed by Maurice Jallot. The chair is padded and upholstered in red, with elliptical detailing, and has tapering, slightly splayed legs. 1940s.
FRENCH NIAGARA CHAIR
One of a set of four, this chair was designed by Maurice Dufrene. The “Niagara” patterned upholstery sits within a plain moulded frame, on distinctive, stepped, “falling water” legs.
SWEDISH CLUB CHAIR
AMERICAN D-SHAPE CHAIR

FRENCH ARMCHAIR
FRENCH MAHOGANY SIDE CHAIR
This armchair is one of pair designed by Pol Buthion. It has a chrome and red-lacquered wooden frame and flat paddle arms. The seat and back are upholstered in dark brown fabric.
This armchair is one of a pair by Francisque Chaleyssin and is made from black-lacquered wood. The seat, back, and tubular arms are upholstered in brown and beige velvet.
This armchair is one of a pair designed by Soubrier. It has an arched back and is upholstered in a diamond-patterned fabric. The armchair stands on block feet.
One of a pair, this Jules Leleu chair has an arched back, inverted heart base, and stepped, scroll arm terminals. The tapering legs terminate in gilt-bronze sabots. c.1930.
FRENCH ARMCHAIR
FRENCH LACQUERED ARMCHAIR

AMERICAN V-SHAPED CHAIR
One of six mahogany dining chairs designed by Paul Frankl and produced by Johnson Furniture Co., this armchair has a distinctive V-shaped upholstered back and curved mahogany arm rests.
BRITISH CURVED CHAIR
Tapering splayed legs support this sycamore chair, attributed to Hille and Co. The padded seat and arched tub back are upholstered in a geometrically patterned fabric, with one curving side. c.1930.
FRENCH DINING CHAIR
This Leon and Maurice Jallot dining chair has an ebonized frame and legs. The seat and back are upholstered in green leather, above sides mounted with three chrome rails. c.1930.
FRENCH CHAIR
This black-polished and upholstered chair is one of a pair by Alfred Porteneuve. It has slender, flattened arms and tapering legs, which end in bronze sabots. 1940s.
This Sue et Mare rosewood side chair has an upholstered arched back above a padded seat. The carved frame has feather detailing and the cabriole legs terminate in scroll feet. c.1925.
This mahogany dining chair is part of a dining suite comprising eight chairs. It has a solid, rectangular back and a padded seat upholstered in striped fabric. The chair is supported on tapering, splayed legs.
Designed by De Coene Freres, this Belgian black-lacquered armchair has a framed, square, padded back and seat upholstered in green leather. The armrests are flattened and the tapering legs terminate in nickel feet.
One of a pair, this Dominique cherry armchair is late for the period but its square form, Aubusson upholstery, and tapering legs are all Art Deco in style. 1945.
FRENCH ROSEWOOD CHAIR
AMERICAN CHAIR
BLACK-LACQUERED CHAIR
FRENCH GAMES CHAIR

Early 19th Century Desks: CANADIAN DROP-FRONT DESK, GERMAN PEDESTAL DESK, FRENCH CLERK’S DESK, BIEDERMEIER CYLINDER BUREAU, FRENCH DIRECTOIRE CYLINDER DESK, AMERICAN FEDERAL DESK

DESKS GENERALLY TENDED TO BE Of two
forms: flat- or slant-topped. Neither of these types were new in the early 19th century. Of the former, which were generally intended for a library, several outstanding examples survive. The Jacob brothers of France provided Napoleon with a flat-topped desk for his study at the Tuileries, which is now at Malmaison. A type of mechanical bureau plat, the box-like top slides back to expose the working surface. It is supported on side pylons formed from paired lion monopodia painted and gilded to simulate bronze.
A late Empire “Ferdinandino” style desk in mahogany survives in the Spanish Royal Palace in Madrid. With a leather top, which is typical of flat-topped desks of the period, it is supported on gilt swans linked by a platform stretcher. Chippendale the Younger’s desk for Sir Richard Colt Hoare at Stourhead demonstrates a British variation of this type. Unusually,
the top of the desk is rounded and has Egyptian mask pilasters running around all sides.
Slant-fronted bureaux were still produced, particularly in provincial centres in Britain and the United States. The cylinder bureau, which had a rounded fall that pushed upwards into the carcase of the piece remained popular on the Continent, particularly in the north. The cliatol in Denmark was a variation with a cabinet above it. Similar bureau-cabinets were produced in Britain, as was a much smaller desk called the Davenport. In some instances the slant provided the actual writing surface rather than covering it, while others were made with a piano-top style. They are thought to be named after a version made by Gillows for a Captain Davenport. Other small desks, , were in vogue on both sides of the channel. The secretaire a abottant continued to be popular, especially in France.

The ebony inlay takes the form of leaf sprays and geometric motifs.
Each side panel hasa lion’s head brass ring pull.
The frieze has three drawers.
Arched bracket lion’s paw foot.
ENGLISH REGENCY DESK
This shaped rectangular pedestal desk has a black gilt-tooled leather writing surface and is decorated around the edges with ebony inlay depicting sprays of leaves and geometric motifs. The frieze has three drawers to the front above
a kneehole, flanked on either side by a door enclosing three drawers. The reverse of the desk has three conforming frieze drawers and cupboard doors enclosing a shelf. The case stands on eight arched bracket lion’s-paw feet.
c.1820.

AMERICAN SLANT-FRONT DESK
This Federal maple and tiger-maple slant-front desk from New England has a moulded slope front with a fitted interior and four long graduated drawers. There is a moulded base and the case sits on French feet. The secondary wood is white pine. c.1800.

FRENCH DIRECTOIRE CYLINDER DESK
This roll-top desk has a white marbled galleried top above three frieze drawers. The panelled fall opens to reveal a fitted interior with small drawers and a leather-inset brushing slide. The desk is raised on turned, tapered legs, ending in toupie feet. c.1800.
ITALIAN LIFT-TOP DESK
This desk has a lift-top with iron strap hinges and lock that folds back to reveal a fitted interior. The desk is supported on canted, scrolled ends with carved supports. Early 19th century.

AMERICAN FEDERAL DESK
The slant front of this Federal cherry-wood clerk’s desk encloses a fitted interior of four drawers and valanced compartments on both sides of a central, shell-carved, prospect door flanked by two document drawers. Below is a single long drawer. Early 19th century.
SWEDISH PAINTED DESK
This is a late Gustavian painted desk, with a wide overhanging rectangular writing surface above three reeded frieze drawers. Each pedestal has three graduated short drawers, again reeded, and is raised on a narrow
plinth with block feet. 1800-20.
BIEDERMEIER CYLINDER BUREAU
FRENCH CLERK’S DESK
This German walnut-veneered cylinder desk has a frieze drawer above the roll-top and two long drawers below. The front opens to reveal a fitted interior with six small drawers and compartments. The case is supported on square-section tapering legs. c.1820.
This mahogany desk has a three-quarter gilt-metal gallery and a leather inset slope. There is a gilt-metal mounted frieze with a drawer above a grille door and sides with folio divisions, flanked by turned columns. The desk is raised above a platform with square supports on bun feet.

GERMAN PEDESTAL DESK
This pedestal writing table is covered with cherry wood veneer. The rectangular top has a higher, moulded edge to the back and sits above one long and two short frieze drawers with locks. Either side of the kneehole, the
deep, rectilinear pedestals have unusual tapered doors with applied moulding above, which give the piece an architectural feel. The interiors of the pedestals are fitted with shelving. The whole piece is supported on a plinth base. c.1825.
CANADIAN DROP-FRONT DESK
This rare Quebec pine desk has a fall front, which opens to reveal a fitted interior. On either side of a central cubbyhole are three wide, graduated drawers, and above it is a series of pigeonholes. The case has three long
drawers and is supported on a moulded plinth. The exterior of the desk has been stripped, but still bears traces of its original paint finish. c.1820

Art Deco Table Wares
Companies engaged in manufacturing products for preparing and serving food found it necessary to accommodate the new trends in modern design. Streamlined and angular shapes can be found not only in sets of china but in kitchen equipment as well. In this section, table wares are not confined to dishes but include other utilitarian and decorative pieces. Because of the great diversity of this category, it is possible to show only a sample of items, but the pieces illustrated should alert collectors to the many possibilities table wares offer. Photographs are arranged approximately in alphabetical order according to the function of the item, ranging from candle holders, centerpieces and crumbers, to pitchers and a toaster!
Table wares basically are made of pottery, glass or metal. Ceramics include earthenware or semi-china, stoneware and porcelain. Simplified decoration distinguishes Deco china from that produced during the Victorian years. Floral transfer patterns covering the entire surface of china gave way to colored line borders or abstract geometric patterns. Sometimes china was left undecorated with the shape or mold drawing attention to a modern image. Geometric shapes other than the usual circular form are seen here in the rectangular bowl and the triangular shaped cup and saucer.
Ceramic table wares can be found at all price levels. Pieces designed and handpainted by Clarice Cliff for the Royal Staffordshire Pottery during the late 1920’s and early 1930’s are highly regarded by advanced collectors. Price can reach several hundred to several thousand dollars for some examples, especially those with floral and landscape decor. “Bizarre,” “Geometric,” — and “Fantasque” were some of the pattern names. The English artist’s signature was included on most of her work. Pieces which do not have her name or signature as part of the mark are usually considerably lower in price. “The Biarritz” soup bowl shown here is one such example. Although the pattern is quite simple, it also merits consideration as a form of Deco table ware. Deco patterns by other English potters are also quite collectible. Many good examples in the moderate price ranges are surfacing. These may be found mixed in with other miscellaneous dishes by dealers who do not specialize in Art Deco.
“American Modern, ” designed by Russel Wright for the Ohio based Steubenville Pottery is also quite collec
tible and much lower in price. This line was made from about 1939 through the late 1950’s. Solid colored surfaces without other added decoration implied a modern concept. Many other European and American pottery and porcelain factories produced their own renditions of “modern” style. Japanese table ware companies used similar interpretations to reach the large American market. Deco patterned china made by the Noritake firm has been attracting many collectors during the last few years. Prices are still affordable but not inconsequential. Table china, however, is probably the largest source of Art Deco “sleepers” and possible bargains today.
Angular shapes or stylized designs cut or molded into glass table wares were made to grace the dining tables of the period. Art glass by French manufacturers is usually too expensive for moderate collectors. The large blue centerpiece bowl made by Daum and the smoke glass bowl by Verlys are two such examples. These would fall into the “investment” rather than the “fun” class of Deco collectibles. But, like ceramics, many types of inexpensive table glass were made during the 1930’s and 1940’s by American factories. Depression era glass collectors began to salvage pieces during the 1960’s. A number of the patterns have unmistakable Deco characteristics. “Manhattan,” a clear glass pattern made by Anchor Hocking is just one type finding its way into Deco collections. The ruby red, cobalt blue and deep green colored glass made by other American glass companies also qualifies as Deco. Quite a few pieces are very attractive, some are even elegant and others are just amusing.
Flatware, serving pieces and decorative table articles can be found in silver, brass, copper, chrome and plated metals. Chrome and plated metals are the least expensive. Nude or semi-nude figures were made into metal centerpieces or candle holders. Prices are competitive with other figural items and examples are just as much in demand. A number of metal Deco items were originally silverplated. Because the plating wears off, items become ugly and lose much of their value. Dealers have found it lucrative to have such objects stripped to the base metal which was usually copper or brass. The copper centerpiece with a pot metal nude is an example which was once silver plated. Do not automatically disregard badly worn plated pieces which have obvious Deco signs. It may be wise to have them stripped and polished by a commercial firm which specializes in that kind of work.