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 French Art Nouveau games table by Emile Gallé, featuring inlaid fruitwood marquetry depicting thistles and card suit symbols. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 130, plate 1.
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 "Ombelle" carved walnut table, by Emile Gallé. The table is decorated with fruitwood marquetry featuring a butterfly alighting on an ombelle blossom and has three carved feet. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 202, plate 182.
A French Art Nouveau rosewood two-tiered pedestal by Anthony Selmersheim. While the top tier is circular, the lower shelf has four symmetric lobes. The four supports are sinuous and carved. A similar pedestal is pictured in: The Paris Salons 1895-1915, Vol. III: Furniture, by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 464.
A French Art Nouveau games table in cedar and walnut by Emile Gallé, featuring inlaid marquetry when closed and open. When closed, the marquetry decoration is of tree branches with buds and flowers and can serve as an end table. Opened, the motif is more foliate. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 134, plates 8 and 8a.
A French Art Nouveau mahogany side table with carved decoration in an abstract curvilinear vegetal motif by Edouard Colonna (1862-1948). Along with Louis Comfort Tiffany, Edouard Colonna was one of the main designers who worked for Siegfried Bing and who, under Bing''s guidance, was responsible for the creation of what is known today as the Modern Style, or Art Nouveau. Colonna is remembered for his tasteful elegance and his use of abstract forms to create a graceful linear rhythm and dynamic intertwining lines. While he occasionally started with a floral motif, Colonna abstracted nature to create the impression of a flower bud or bloom held within a carefully constructed geometric scheme. This design scheme is evident in the delicate carvings ornamenting each leg of the table and in the overall rhythm of the piece. Colonna furniture, jewelry and designs for small objects like scarf and money holders would become the backbone of Bing''s business. By 1898 a number of his works were on display at Bing''s L''Art Nouveau. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture", by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 109.
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