A pair of French Art Nouveau side chairs by Vallin, featuring a carved mahogany "Wheat" patterned motif and leather upholstery. Similar chairs are pictured in: "The Paris Salons, 1895-1910, Volume III: Furniture" by Alastair Duncan, Antique Collectors'' Club, Publishers, page 555 (Dining room, collection of Eugène Corbin, Le Salon d''Automne, 1910).
A French Art Nouveau two-tiered ""Caltha des Marais" table with ormolu mounts by Louis Majorelle. The table was created at the height of Majorelle''s most fertile period. While pastiches marked Majorelle''s early career, Majorelle''s mature style reduced the excessive ornament of the ancien regime into the fluid line of modernity. This reduction is most apparent in the table''s skirt, where the baroque swag motif transforms into a graduating concave form. The table''s ormolu mounts are bereft of foliate scrolls and grotesque motifs. Instead, Majorelle''s sophisticated naturalism takes inspiration from the flowers of his native Nancy. Marsh marigolds form the top of each mount. Among the few flowers to grow in the caliginous marshes, their yellow petals are a welcome respite to the eye. So loved was the marsh marigold that Shakespeare proclaimed they grew at heaven''s gate, "Hark, hark! The lark at heaven''s gate sings...His steeds to water at those springs, On chaliced flowers that lies; And winking Mary-buds begin, To ope their golden eyes." The marsh marigolds terminate in "saggitaire fleche d''eau" or arrowhead leaves. The tabletop is set with Amboyna burl veneer. Amboyna veneer is among the world''s rarest and most expensive veneers — holding the distinction of being the original wood used on Rolls Royce dashboards. Against the sobriety of the walnut skirt, the Amboyna bur
l gives the table an air of luxury. A similar table is pictured in: The Paris Salons 1895-1915, Vol. III: Furniture, by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 396 (Chairs and tables Salon, 1904); and in: Louis Majorelle: Master of Art Nouveau Design, by Alastair Duncan, New York: Harry N. Abrams, Inc., 1991, plate 57.
A pair of French Art Nouveau "Pommes de Pins" walnut armchairs by Louis Majorelle. The chair backs and seats are upholstered in green fabric. They have carved arms, legs and spindle sides. This model of arm chair was used in the bed chamber of Madam Majorelle. Pictured in: Majorelle: Une Aventure Moderne, by Roselyne Bouvier, Paris: La Bibliothèque des Arts, 1991, page 118, plate 120.
A French Art Nouveau carved walnut upholstered armchair, "Aux Pins," by Louis Majorelle. The chair has carved wooden sections depicting pine cones, a recurring motif in Majorelle''s naturalist vocabulary. A similar chair appears in Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries (the 1906 Majorelle catalogue), as Cabinet de Travail "Les Pins", and in The Paris Salons, 1895-1910, Volume III: Furniture, by Alastair Duncan, Antique Collectors'' Club, Publishers, page 407.
A French Art Nouveau walnut armchair by Louis Majorelle, featuring sinuously curved arms and legs. The top of the chair is decorated with an intricately carved floral motif. It is upholstered in a feather-like pattern fabric in grey, rust and browns.
A French Art Nouveau upholstered chair by Gauthier. The chair''s back and legs are gracefully carved, and the ornament in relief beneath the seat is repeated as carving in the chair back. The chair is upholstered in a leafy green fabric.
A French Art Nouveau armchair, by Edouard Colonna, in carved mahogany with green upholstery. A similar chair is pictured in The Paris Salons, 1895-1910, Volume III: Furniture, by Alastair Duncan, Antique Collectors'' Club, Publishers, page 108.
A pair of French Art Nouveau "aux Fougères" armchairs by Louis Majorelle. These chairs are decorated on their back edges, ams, legs and seat supports with carved fern fronds. They are upholstered in green. Similar chairs are pictured in: Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries (the 1906 Majorelle catalogue); and in: The Paris Salons 1895-1915, Vol. III: Furniture, by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 396.
We are committed to making this website available to as many people as possible and is engaged in continued efforts to ensure that this website is accessible to those with special needs, including those with visual, hearing, cognitive and motor impairments. Our efforts in that regard are ongoing. Many internet users can find websites difficult to use. We recognize that this is an important issue, and we are working to ensure that this website is accessible to all persons who wish to use it. Our efforts to improve this website in this regard are in process, so if you come across a page or feature you find inaccessible or difficult to use, please send your feedback to firstname.lastname@example.org.