A French Art Nouveau pedestal table by Louis Majorelle. The circular two tier table in beech and walnut wood features carved vegetal motifs in bas-relief. Both the table top and the lower shelf are made of beautifully grained wood.
A French Art Nouveau walnut pedestal attributed to Emile André, featuring sinuous legs with understated organic carvings. A similar pedestal is pictured in "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 40 (Exposition de l''Ecole de Nancy, Paris, 1903).
A French Art Nouveau selette by Émile Gallé. Gallé made very few selettes of this quality and design during his career, and even fewer of those with curved lower pieces that reunite in the middle, culminating in a gorgeous flower in full bloom. This model is very similar to the famous version with banana leaves, called Bananie. The marquetry on the top and middle sections of the selette, depicting flowers and leaves, is extremely bright and detailed. The variations of color emphasize the differences between the brighter lilies of the valley and the darker background. The curves and flowing details of the wood carving surrounding the top shelf come to challenge the stricter straight lines used for the contour of the piece. The balance between curves and straight line work in perfect harmony and together underline the subject matter. A similar selette is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 245, plates 4 & 4a.
A French Art Nouveau walnut three-tiered pedestal by Louis Majorelle, featuring a rotating tray on the top. Leaves and berries adorn the upper portion of the legs. The gently curving legs are also deeply carved. Firmly rooted in the craft of woodwork and furniture-making, Louis Majorelle''s furniture subtly recalled the splendors of furniture from the 1700''s. Majorelle often ornamented his pieces with gracefully-sculpted sumptuous organic natural forms, like the grape bunches featured here. Using a new vocabulary of natural motifs and flowing lines of Art Nouveau, Majorelle''s furniture merged old and new in a tantalizing way. The sinuous natural forms of his works, like those sumptuous accents, were inspired by the C-scrolls of the Louis XV era. In an age when France was still humiliated by the Franco-Prussian War of 1870, and when luxury production in other countries was threatening the cultural hegemony the French saw as their birthright, Majorelle''s ability to suggest the nation''s glory days was paramount. Pictured in, "Louis Majorelle, Master of Art Nouveau Design," by Alastair Duncan, 1991, p. 202.
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