Art Deco Furniture (929.98)
on
+4359
“CANADA
Art Deco Furniture
THE FRENCH DESIGNERS
Alastair Duncan
The term ‘Art Deco’ only came into general use in
the 1960s, but it reers back othe great exhibition
of ‘Arts Décoraifs’ held in Paris in 1925, which
presented fo the world a dazzling new style thot
‘was o be the successor of A Nouveau: the style of
modernism, of he Jazz Age, ocean liners, cinemas
‘ond skyscropers
The Ait Deco movement ~ with is emphasis on up:
todote individualiy combined with good iase, fine
moterils and exquisite workmanship — became al
the rage in France. Other countries, including the
United States, Britain and Germany, produced
their own, often equally successful versions of the
sie. In funiture especially, the French predomina-
ted: he world hod no! seen such creative design for
125 years; on the one hand, the virtuoso cabinet
making of Ruhlman, on the other, he brillant cxigi-
nalty of Gray and Legrain.
Alastair Duncan introduces us to the work of more
than eighty architects, furniture makers and interior
designers, The colour and monochrome photo-
wner and a mother of Belgian ori
ied school at the College Sainte-Croix in Neuilly
tering the Ecole des Arts Appliqués Germain Pilot
94 to study painting, sculpture, and theatre
The collapse of his father’s business forced him
Bere school and help support the family. He found work
jons to the popular press, augmenting a meagre
1908 his
hours of painting theatre sets. In
eto the attention of Paul Iribe who asked him ti
his satirical reviews, L’Assiette au beurre, Le
La Baiomett
¢ invited him t
Legrain’s creative
collaborate on various projects,
912 commission to decorate in the modern style
’s apartment at 46 avenue du Bois
with Doucet was to seal Legrain’s furure after
ates at the beginning of the war.
1 the United
Legrain voluntecered for action, and after his demobilization
when work was scarce, he sought out the wealth
Doucet, an
to design modern
collection. Legrain was forced to accept, though he had never
be
patron’s dining room, where Legrain revoluti
din 1917 was offered a salary of Fr300 p
bindings for Doucet’s renowned book
re designed a book cover. A studio was set up in his
of bookbinding in 365 designs executed by Doucet’s binders
In 1919, now married and living at 9 rue du Val-de-Grace, he
left Doucet’s exclusive employment and began to accept
other commissions. He continued, however, to design
range of unique pieces for Doucet which he exhibited at both
the 1925 Salon des Artistes Décorateurs and, more import
the following
Chareau La Réception et l'Intimité d’un Apparte
ment Moderne’. These items were later incorporated in the
studio Saint-James which Paul Ruau designed for Doucet
Neuilly in 1926
ksh
of the decorators Briant et Roberts at 7 rue d’Argenteuil
Legrain established his own w p within that
from where he moved first to a basement in the
» 504 rue Saint- Jacques. Feeling the need to
his reputation as a bookbinder, he planned yet
a larger building, the Villa Brune
Jul
of the scheduled move, he suffered a fatal heart attack
Legrain’s courtship of the avant-garde was described by
Léor
in which he could house a bindery. On 1 1929, the day
Moussinac in Interiewrs IV’: ‘Piette Legrain’s person:
ality allows him to be seduced by the problems of organiz.
ation and interior decoration for a particularly rich social
ninority, which wishes tc
sppear informed about what is
this, because they are particularly rich
best. The results are
particularly exceptional pieces of furniture. Pierre Legrain’s
art is exclusive.’ Commissions came by word-of-mouth
ain therefore needed to exhibit only intermittently; at
in des Artistes Décorateurs (until 1926); the
Exposition (bookcovers in the Hétel du Collectionneur)
Les Cinq’; and the inaugural U.A.M. exposition in 1929,
Doucet afforded Legrain an expanding clientele, which
allowed him to earn a living from his twin passions, furniture
design and interior decoration. Jeanne Tachard, a noted
milliner and friend of Doucet through their mutual interest in
ic art, became an important patron, commissioning
ain to furnish two apartments at 41 rue Emile-Menier.
So well did his African-inspited furniture complement her
tribal art collection that she retained him to decorate her villa
Celle-Saint-Cloud, a triumph discussed at
length by Gaston Varenne in a 1924 article in I
Amour de
rt. Other noted clients were Pierre Meyer, for whose house
on the avenue Montaigne Legrain designed the celebrated
glass and copper Pleyela piano sh
wn at the 1929 exhibit
of ‘Les Cing’ at the Galerie de la Renaissance; Maurice Martin du Gard (a suite of rooms); the Viscount de Noailles
a bedroom); the Princess G. de G. (a house on the rue
Villejust and another at Celle-Saint-Cloud); Mme Louise
Boulanger; and Suzanne Talbot. Small commercial com
missions filled in the gaps: leather camera cases for Kodak
te box designs for Lucky Strike and Camel; and a desk
set for the Elysée Palac
Doucet’s Neuilly collection was divided posthumous
petween a 1958 gift by Jean Dubrujeaud to the Musée des
Arts Décoratifs, Paris,
Hotel Drouot
and the auction held in 1972 at the
pursuit of luxury through lavish materials and contrasting
colours. Palmwood, with its coarse, open grain, was par
ticularly suited to African-inspired furniture, while highly
buffed palisander and ebony brought opulence to cubist
pieces. Legrain also exploited the tactile qualities of his
materials, juxtaposing metal or glass with sharkskin
Colour was added by expanses of lacquer
small detailing in enamel and mother-of-pearl. His walls
complemented the furniture, their surfaces panelled in cork
parchment, corrugated card, of oileloth.
Legrain left the execution of his designs to others: Dunand
‘Vuitton for leather
and Ni
or lacquer; Miklos for enamelling
Keiffer, Canape
pookbindings.
Legrain’s furniture at once energetic, masculine,
France's West and Central
from two sources: African tribal art and cubism
a considerable vogue in th 19
African colonies were pillaged by
rofit-minded trophy hunters, their booty rushed to eager
collectors in Paris and Marseilles. Legrain was exposed first
to Doucer’s collection, later to that of Mme Tachard. He
drew on various Ashanti and Dahomey pieces for furniture
thrones, neck-rests (tc Jaborate hairstyles), and
primitive designs. Léon Rosenthal referred to this influence
in Legrain in A
Lynn
article by >rnton in wur included ar
illustration of the thr Dahomey
its seat an undeniable prototype for Legrain’s
famous curule-shaped tabouret in black lacquer and galucha
44
Doucer’s contemporary art collection
Modigliani
n applied the concept three-
1s ¢’Automne Lelen: armebait in mahogany inlaid
with ivory. The model produced also in
Ilustrated in Mobilier
mboyna, 6.19)
oration, 1922 Christie's, NY
Lelen: music cabinet veneered in tor
shell, with steel banding, the interior in
Félix Marcilhac pa keted by Primavera and exhibited at the
Union Centrale des Artistes Décorateurs
24 Sogut: desk and chair, in collabor
ation with Charlotte Alix. Mlustrated in
Petits Meubles du jour, Paris 1928
Sogut: chest of drawers and filing
on with Charlotte
Mew Mr
cabinet, in collabo
Ali. I
le-table in oak with metal
Primavera. Illustrated in fre
[
aa)
- Rapin’s importance as a decorator diminished steadily
from 1919. Interiors, awash with colour and detail
wallpapers, silk fabrics, pilasters, and painted friezes
appeared almost Victorian. The Salon critics found room for
criticism at a time when popular dictates demanded a
movement towards diminished decoration. He was blamed
As the critic Emile Sedeyn wrote in
Art et déoration in 1921, “His designs are never smooth and
bare. You can sense that he fears the cold and boredom and
that he spares himself no trouble to avoid or contend with
them.”
His furniture, executed in the early ty20s by Evrard
Fréres, combined painted and varnished detail with ivory and
exotic wood veneers. Here, too, Rapin was found delinquent,
not only in his choice of decoration, but in the pieces?
impracticability and construction. Yvanhoé Rambosson
wrote in Art et décoration of the furniture in a girl's bedroom
displayed at the 1922 Salon des Artistes Décorateurs: “At first
sight it is welcoming, but it is not based on practicality. A
for ‘an excess of verve
woman likes to be able to see herself in a freestanding or a
wardrobe mirror. She needs to be able to hang or lay out her
Manufacturers and businessmen can
help artists in these matters. From a technical point of view I
noticed that the table top is made to recede and as a result the
legs and crossbars come into view, This will present a
problem in the future, because of the difficulty of hiding the
gaps which will necessarily appear as the wood settles down.
Ovethanging table tops are designed to conceal joins, among
other things.”
By 1924 Rapin had been appointed artistic director of both
the Sevres Manufactory and the Ecole des Arts Décoratifs.
He continued to apply himself ro all aspects of the decorative
and architecture. Two 274
boulevard Raspail and 99 rue de Bac. The magazines Intérieurs
smodernes and Décors et ameublements da goit da jour show a wide
range of contemporary interiors. The previous tendency
towards over-ornamentation had now been checked. His
ministerial office at the 1924 Salon des Artistes Décorateurs
includes
dresses somewhere,
arts addresses were listed
‘monumental cabinet carved by Hairon, with metal
mounts by Georges Capon. Rapin also designed the Salon’s
exhibition hall and rotunda.
Rapin participated widely in the 192 Exposition, For the
Ambassade Frangaise he designed both the grand salon (the
architecture in collaboration with Pierre Selmersheim) and
the dining room. Elsewhere he decorated the pavilion of the
Ants Décoratifs, the Arthur
Goldscheider and Paul-René stands, and the Ecole du Comité
des Dames de l'Union Centrale des Arts Décoratifs. He also
designed furniture for the grand salon of the Hotel du
Collectionneur. For the Sevres pavilion, he designed carpets,
ceramics, lamps, and furniture, the last-mentioned executed
Librairie Industrielle et des
%
Rapin continued to exhibit into the late 1930s, collaborating
on some commissions with Jacques Rapin, presumably a son,
‘Their exhibit at the 1935 Exposition de Bruxelles was one of
his last. He died in 1939.
Ratean, Armand- Albert
Born in Paris in 1882, Rateau attended the Ecole Boulle from
1894 t0 1898. On graduating he established himself in a small
studio, in 1900 accepting a position in the atelier of the
renowned Art Nouveau ceramicist, Georges Hoentschel,
where he probably collaborated on the furniture and boiserie
displayed by the firm at the 1900 Exposition. In 1905 he took
over the directorship of the Ateliers de Décoration de la
Maison Alavoine, and remained there until the First World
War. As director, he oversaw the commission to furnish the
New York townhouse of George and Florence Blumenthal,
later to become important private clients, Other prewar
clients included Cartier, Georges Fouquet, and Tiffany's.
In 1919 Rateau became an independent decorator, opening
his Atelier Levallois in Neuilly. He took a showroom on the
boulevard Berthier, moving, ¢. 1930, to the quai de Conti
Employed in Neuilly was a team of skilled artisans and
cabinetmakers, plasterers, sculptors, metalworkers, painters,
and gilders, the most noted of whom was Paul Plumet, who
was responsible for the erisply carved decoration on Rateau’s
furniture and panelling, initially in wood and then increas.
ingly in bronze.
‘Ona boat trip to the United States in 1919, Rateau became
reacquainted with the Blumenthals, winning commissions to
orate the family’s French residences: the chateau de
Malbose in Grasse, a townhouse on the boulevard Mont
morency in Paris, and Le Vieil Arbre, a late-cighteenth-
century hunting lodge in Passy
‘The 1920s saw a host of prestigious commissions, begin.
ning in 1920 with Jeanne Lanvin’s apartment at 16 rue
Barbet-de- Jouy. Rateau decorated a bathroom and bedroom,
thc latter’s walls in Lanvin-blue silk embroidered with yellow
and white roses, animals, pheasants, and palmtrees, themes
The bath
ese yellow marble with a central sunken tub,
incorporated several of
furniture models ~ a chaise longue, dressin;
and floor lamps ~ which he reused in later commissions, A
repeating motif was the marguerite (the name of Mme
Lanvin's daughter). The association was fruitful, leading in
1922 to Rateau’s appointment as a director of Lanvin
Décoration at 22 Faubourg Saint-Honoré. The firm was
commissioned in the same year to redecorate the auditorium
of the Danou theatre, undertaking, simultancously, the
reproduced as mounts in the room's furniture.
room, in Sien
-au’s now celebrated bronze
ble, sconces,
by the Association des Anciens Eléves de I'Ecole Boulle. @ decoration of a new venture, Lanvin-Sport.
161 Although he never exhibited at the annual Salons, Rateau
did participate in the 1925 Exposition and also, the following
year, in a retrospective exhibition at the Metropolitan
Museum of Art, New York. At the Exposition, he provided a
range of furniture for both the Maison Callot Soeurs exhibit
in the Pavillon de Elegance and La Renaissance de I’Art
Frangais et des Industries de Luxe
In the second half of the 1920s interiors were completed
for the Duchess of Alba (a bathroom in her Palais Livian in
Madrid), Baron Eugéne de Rothschild (the chiteau dela Croé
in Cap d’ Antibes), Dr Thaleimer, and Mile Stern.
Rateau’s style was distinctive, its inspiration the Orient
and antiquity. Trips before the First World War to Granada
and Naples, where he visited Pompeii, helped his develop-
style. Pheasants, but
¢ recurring themes. Early
ment of a very personal neoclassic:
terflies, gazelles, and acanthus we
oak furniture gave way to bronzeware exhanced with a verde
‘antico patina.
Rateau mostly limited his furniture production to editions
of three. Several of the most important models are now in the
Musée des Arts Décoratifs, Paris; for example, a chaise
longue (model 1385), low table (model 1209), a pair of floor
lamps (model 1318) and an oval tea-table (model 1453)
Rateau was active until his death in Paris in 1938, but the
19308 generated less interesting work than carlier.
Renandot, Lucie
Renaudot received substantial magazine coverage through:
‘out her career. In addition to the major monthly reviews,
‘numerous other publications illustrated individual pieces of
her furniture or ensembles; for example, Menbles du temps
prisent and Petits Menbles moderns.
No record appears to have survived, however, of either
her maiden name or early years. Salon catalogues list her
place of birth as Valenciennes. It seems that she emerged
‘unannounced on the Paris scene at the end of the First World
War, making her début as a decorator at the 1919
’Automne. A fruitful liaison was immediately formed with
the cabinetmaker Paul-Alfred Dumas, of 24 rue Notre
Dame-des-Victoires, for whom she designed furnishings
until her death in 1939. Her style was classically inspired, part
English Regency and part Louis XVI. A gentle formality
predominated. Léon Moussinac described the effect in
Intérieurs III: “For a wealthy society caught up by ele
and which wants to use solid furniture, this artist creates
suites of extreme distinetion. . . . Thanks to a simple but
subtle play of surfaces and lines, light adds to the effect of
precious substances and to the grace of a curve in a piece of
‘well-proportioned furniture
%
her interiors. The desk and chair which she entered in the
1928 competition at the Union Centrale des Arts Décoratifs
precisely met the critics’ requirements, though today the desk
appears remarkably like an earlier Ruhlman prototype
Only one mildly dissenting voice found its way into print,
that of Louis Chéronnet, in a 1931 article in
who found ‘in general an agreeable feminine disorder, yet a
little too theatrical’
Renaudot preferred a combination of woods, often a light
burl veneer in juxtaposition with a dark one. The contrast
drew attention where the piece’s conservative contours could
Alternative decoration was achieved by patterning
within a veneer, the unusual grain in Brazilian jacaran
example, providing an arresting effect when running the
vertical length of adjoining drawers on a commode
A distinctive aspect of Renaudot’s interiors lay in her
lings. Many of these contained circular or square recessed
frosted panelling to provide concealed lighting,
Renaudot received broad coverage at the 1925 Exposition:
a studio for the Dumas stand on the Esplanade des Invalides
and a child’s room in the Ambassade Frangaise, the latter in
collaboration with Laure Albin-Guillot, Paule Marrot, and
Evelyn Dufau. In the early 19308 came commissions for
cabins on the France and Normandie and, in 1935, partici:
pation in the seventh exhibition of Artistes de ce Temps,
Art et décoration,
for
Renouvin, Georges:
Little is known of Renouvin beyond that he exhibited only
infrequently at the Salons. He considered himself an inde
pendent decorator, above the fray of public exhibitions. He
made the following distinction concerning his furniture in a
1924 article in Art ef décoration by Guillaume Janneau: “There
are two types of room: there ate those that bring out the
conversation in the visitor crossing them, and then there are
those where the visitor stands still and lingers, as if it were a
haven, without really paying much attention to the pleasing
aspect of the decoration. But he instinctively knows that he
likes it. Undoubtedly the first type of room has a greater
effect: it as achieved the aesthetic required by exhibitions. It
is on display. However it is the second that | like to arrange
Ie is in this discreet setting that people live. A lived-in room
can never be too soothing in its decoration.”
Renouvin’s furniture was indeed ‘calm’. It was, in fact, as
purely neoclassical as is possible in the twentieth century
The same Art ef décoration article illustrated a wide ranj
pieces in an unashamedly Louis XVI style, the sh:
fundamentally unchanged in spirit from their late eighteenth
century forebears, except that they were devoid of all
parquetry and ormolu mounts. Their interest came from fine
Iris hard, in fact, to find adverse contemporary ertcismof q, quality veneer, lacquer, or Moroccan leather panelling
162 it the Louis
Renouvin had a particular infatuation
fluted feupie foot. It appears on most of his furniture, often
charmingly t
its capital
Favourite woods were macassar ebony, palisander, m
hogany, and amaranth. Metal mounts, pared down to their
functional essentials, were provided by P. and A. Picard. The
1924 article shows the technique used by Renouvin to
generate an atmosphere of sumptuousness ina room contain
ing stiff and traditional furniture; the ceiling was painted in
gilt-speckled orange, the fabries and linens were in orange
and gold Jamé, the drapes in grey velours.
Collaborators are listed as da Silva Bruhns (carpets),
Soudbininne (ceramics), and Jean Renouvia, presumably a
son, who was credited with a ange of covered wood boxes.
rnsposed from the bottom of a furniture leg to
Roussean, Clément
An air of excitement greets the infrequent arrival ofa piece of
Rousseau furniture on the auction block, No major Art Deco
collection is considered quite complete without an example
of his work, These are so rare that almost anything will do
table lamp base, pedestal, or small menble barbitre. ‘The magic
lies both in the form of his pieces ~ they show a very personal,
somewhat whimsical, interpretation of late cightecnth
and in the superb interplay of his
preferred materials. Richly grained palmwood or rosewood
provide the framework for furniture veneered with stained
sharkskin intersected by thin ivory banding, a technique
adopted by Rousseau in 1912.
Most of these pieces are thought to have been commis
sioned by private clients but, unfortunately, little firm
information on any aspect of his cabinetry has survived. Born
in Saint-Maurice-La-Fougereuse (Deux-Sevres) in 1872, he
was trained as a sculptor by Léon Morice, exhibiting at the
Société des Artistes Frangais. Fumiture appears to have been
a natural extension of his sculpeural abilities, one given
respectability in the early 19208 by commissions from
Jacques Doucet and Baron de Rothschild, examples of which
are now in the Musée des Arts Décoratifs, Paris, and the
Metropolitan Museum of Art, New York. Each piece is a
miniature object of virtu, each in datk wood, especially
palmier, that contrasts with tinted or bleached gelachat and
snakeskin veneers above ivory sabofs, Rousseau's workman
ship is easily mistaken for Chanaux’s, but luckily the pieces
are invariably signed in an incised wavy scrawl, often with
the year of manufacture
Rousseau exhibited a selection of furniture and objects at
La Galerie Charpentier in 192s. No later reference to him
appears in contemporary reviews. He died in Neuilly-sur
Seine in 1950.
4
165
XV Rubimann, Jaques-Emile
Had France of the 1920s been a monarchy, Ruhlmann would
certainly have held the position of éiéniste du roi. No work as
fin 5 years. He was unswayed by
the prevailing Art Nouveau idiom, and drew his inspiration
directly from the eighteenth century
he kept his forms elegant, refined, and above all simple
Although many of his most celebrated works were designed
before 1920, Ruhlmann’s furniture is today considered to be
the epitome of Art Deco style and its finest expression,
Ruhlman was born in Paris 28 August 1879. His
Frangois and Valentine Ruhlmann, were from Alsace and of
Protestant extraction, In 190
and three years of military service, he joined his father's
painting, wallpaper, and mirror business at 6 ruc du Marché
Saint-Honoré. His early responsibilities were primarily to
oversee the firm’s timber inventor ts
business negotiations. But by 1903 he was interested enough
as his had been seen for
A strict traditionalist
after completing his studies
and to coordinate
in furniture design to pay visits to various cabinetry shops in
the area, such as Gevens, Stauffacher and Laberthe. The yeat
1907 brought two significant events: marriage to Marguerite
Seabrook (1886-1957), and the death of his fa
He made his début with a selection of wallpaper designs at
the 1910 Salon d’ Automne and the following year exhibited a
similar display at the Salon des Artistes Décorateurs. In 1912
he moved the family business to larger quarters bordering on
her.
two streets, its address listed as 10 rue Maléville and 27 rue de
Lisbonne. Although the firm’s previous stock-in-trade
Paintings, mirrors, and light fixtures — continued to be
manufactured, Ruhlmann set aside special facilities for his
deepening interest in furniture design. His first furniture
models were displayed at the 1913 Salon d’Automne ~ an
inauspicious moment, with the war only months a
The 1914-18 hiatus provided Ruhlmann with the oppor:
tunity both to refine his furniture design and to obtain a
significant headstart on those of his contemporaries who saw
active service
He was intensely productive during. this
period and designed such masterpieces as the 1916 comer
cupboard (encoignar) in ebony, its door vencered witha large
basket of stylized blooms. This model, reproduced in both
three- and four-legged versions, stands today as the acme of
Art Deco taste
In 1919 Ruhlman went into partnership with Pierre
Laurent, a friend and paintings specialist, and they formed
Les Etablissements Ruhlman et Laurent
placed in charge of the rue Maléville decorating works and
Ruhlman retained the rue de Lisbon section as a furniture
showroom. In the same year they purchased an industrial
building at 14 rue d’Oussant in the 15th arrondissement and
installed a cabinetry workshop on the third floor. Over the
next nine years, they expanded slowly, recruiting artisans
Laurent was with the assistance of André Fréchet, the director of Ecole
Boulle, and Fenot, a noted ébéniste. Eventually the entire
building was taken over for workshops, storerooms and
offices. A new and more modern cabinetry shop employed
thirteen artisans and two machinists, headed by M. Avon. M
Schlesser was in charge, among other things, of the selection
of veneers.
At this pointit is important to stress that Ruhimann had no,
formal training in cabinetmaking and his technical know
ledge was never more than superficial. He made drawings in
ink, often at a scale of 2/100th, which provided front,
clevation, and profile views of his furniture. These were then
passed on toa draughtsman to be rescaled at 1/ roth, and from
there into the cabinetmaker’s blueprint. Numerous examples
of Ruhimann’s preliminary sketches were reproduced by
Léon Moussinae in his 1924 Craguis de Rublmann. The fifty
four plates bear brilliant witness to Ruhlmann’s ingertuity
but unfortunately no dates of chronology were given
From 1913 t0 1924 — more than half his entire career as a
furniture designer ~ Rublmann’s designs were executed by a
range of ébénistes in the Faubourg Saint-Antoine; in parti
cular, Haentges Freres and Fenot
The 1925 Exposition catapulted Ruhimann to the fore
front of the modern French decorative arts movement. The
nation heaped accolades on the man who demonstrated to the
world France's superiority in its most prized tradition,
furniture. It may have surprised Ruhlman, after nine long
years of cabinetmaking celebrity, to be pronounced an
overnight success! But in fact, during those years he had been
known only to a privileged minority, a situation that was
radically changed by his Hétel du Collectionneur. Hundreds
of thousands of Exposition visitors flocked through its
monumental doors to gaze in awe at the majestic interior
described in the firm's catalogue — with more than a little un-
derstatement Ant) Collector’. The
pavilion, designed by Ruhlmann’s close friend, the architect
Pierre Patout, consisted of a vestibule, gallery, living room,
bedroom, dining room, office, bathroom, and boudoir. Its
success derived in part from the talents of the celebrated
group of artists who had assisted Ruhlmana in the project
Bousdelle, Pompon, Bonfils, Dupas, Jaulmes, Jallot, Jour
dain, Rapin, Puiforeat, Brandt, Decoeur, Mayodon, Dunand,
Linossier, Décorchement, and Legrais
known. The firm's own principal decorators were credited in
the introduction to Jean Badovici’s 1924 Harmonies" Intéieurs
de Ruhlman’ and included Stéphany, Huet, Bougenot,
Picaud, Lardin, Lautelin, and Denise Holt
In addition to the Hotel du Collectionneur, Ruhlman
provided paintings for the Exposition’s Gate of Honour; 2
range of decorative items for the Neubauer Jacques bouti
que; a piano for the Pleyel stand; and the architectural
blueprint of the A. LeRoy boutique
asa‘Residence fora Rich
> list only the better
% Apart from the 1925 Exposition and the two annual
| Salons, Ruhlmann exhibited in Madtid, Milan, New York,
| Athens, and Barcelona, as well as at the 1931 Exposition
| Coloniale where he furnished an office for Marshall Lyautey
In 1934, a year after his death, a retrospective exhibition of
his works was staged at the Pavillon de Marsan. The
accompanying catalogue provided a long list of prestigious
clients headed by the Elysée Palace, David-Weill, Jacqueline
Francell, the He-de-France, M. Molinié, the Paris Chamber of
Commerce, the Maharajah of Indore, and numerous public
dignitaries,
Ruhlmann used only the rare
materials for his furniture. Rich veneers, such as palisander,
amboyna, amaranth, macassar ebony, and Cuban mahogany,
were inlaid with ivory, tortoise shell, of horn
tables were embellished with leather, ga/ichat, or parchment
panelling, and silk tassels on drawer pulls added a further
touch of elega
Dunand to be lacquered, and in the late 19208 and early
19305, pieces were sometimes sprayed in the rue d’Ouessant
and most exquisite of
Dressing.
1ce. On rare occasions, a piece was sent to
workshops with a protective coating of cellulose.
Ruhlman reacted with remarkable equanimity to the
post-1925 advent of metal, in view of the fact that his
reputation rested in part on the use of sumptuous veneers,
Metal mounts appeared on his furniture from the mid-19205,
and their use was analysed by Léon Deshairs in a 1927 article
in Art et décoration, in which Ruhlmann justified his adoption
of metal as a way of countering the problems inherent in the
modern centrally-heated house, particularly the damage
caused to wood veneers by dry heat. The magazine showed a
selection of desks and pivoting chairs, with functional, but
not brutal, forms, Ruhlmann’s 1932 desk for the Maharajah
of Indore is a fine example of the successful incorporation of
metal, its princely proportions embracing such chromed
accessories as a telephone, swivel lamp, and wastepaper
basket
Ruhlma
‘most prosperous. He justified his exclusiveness repeatedly by
arguments such as that quoted in the catalogue for the 1928
Lord and Taylor exhibition: “The movement to develop a
contemporary style in interior decoration will only come
fully into its own when people of moderate incomes become
| interested, but owing to the fact that costly experiments must
| first be made in furniture de luxe, before this Renaissance in
1n’s furniture was beyond the means of all but the
decoration can be effected, it is necessary that this art be
developed under the patronage of the wealthy, just as the art
of the older epochs was developed under the patronage of the
courts.’ Ruhimana left to others the challenge of producing
| well-designed but inexpensive furniture for the middle:
classes.
Individual pieces, especially from 1928, were given a
4 branded number and alphabetized to register them within an
164 ein aly coder oreo y mentee leat
Spell ieeectinel orate nara
Ruhlmann died at the relatively young age of fifty-four on
The firm was dissolved, Laurent
Saddier et ss fils
ation exists on the decorator and furniture
addier pére, prior to the First World War. In
1919, he appears to have turned the management of the
family firm at 29-31 rue des Boulets over to two sons,
Fernand and Gaston.
Saddier et ses Fils began to receive attention from the
Little
wholesaler,
crities in the early 19208. A dining room entitled ‘Les Cerises’
in contrasting Ceylonese lemonwood and coralwood was
displayed at Paris's first Exposition Décorative Frangaise
oraine. The critic for Art ef decoration found it
t: ‘He forgets that a decorative motif should not be
cut off by a drawer, especially when the motif acts as
support. The cherries in marquetry look like transfers and the
general harmony is ful of discordances.’ The room's lighting
was provided by Dunaime through the firm of Gagnon. At
the second Exposition Décorative Frangaise Contemporaine
in 1924, Saddier again displayed a dining room.
The firm took stand 39 on the Esplanade des Invalides at |
the 1925 Exposition,
was certainly ‘modern’, as advertised; the dressing-table was
especially interesting, with its twin tapering pedestal feet.
Collaborators ght fixtures),
Coudyser (carpets and fabrics), and Lappara and Gabriel
Contemy
discorda
isplaying a bedroom in baie des tles. It |
included Gagnon (bronze
i
silverware)
Saddier was also represented in the Colonial section at the
1925 Exposition by the Tunisian retailer Boyond, who |
exhibited a dining room designed for Saddier by the Rouen |
|
painter Raymond Quibel. The room's decorative theme ~the
called for a rustic ap.
pearance far removed from the modernism of the bedroom
countryside surrounding Rouen
ationed above, but well-suited to a French colony
In 1936 Saddier presented a bedroom in mahogany and
Salon d’Automne. Pastel wallpapers by
Marianne Clouzot added femininity and elegance to the neat
sapelliat_the
composition. In the same year, Les Echos des industries d art
illustrated two ensembles: a dining room in mahogany, with
light fixtures by Dunaime, a carpet by Marcel Coupé,
silverware by Lappara, decorative panels by Lehucher, and
ceramics and glassware by Jean Luce; and a suite of furniture
in palisander and burl walnut designed for the firm by
Ghislain Rinquet. Other designers for Saddier in 1926 were
J-and J. Adnet and Raymond Quibel.
4
165
The following year, Saddier displayed a bar at La Société
des Artistes Décorateurs. Positioned at the end of a dining
room, the theme for the bar was based on the triangle and
circle: three-legged stools with triangular seats fitted into
matching recesses within the bar counter, stemware by Jean
ingular shelving, and a table
jee wedge-shaped chairs beneath its circular top.
The effect was original, even lighthearted. The furniture
critic for Mobilier ef dcoration, however, found it no laughing.
matter: ‘Sadly, when one has a drinks cabinet as striking as
this at home, it must be easy to succumb to alcoholism.”
Either the Prohibition mentality was at hand or his tongue
was firmly in his cheek.
Saddier also displayed a palisander and thuya
bedroom and ‘Studio on the Cate d'Azur’, both designed by
Ringuet, anda studio by J.and J. Adnet. The latter room was
modern and lacked identity, except for its frosted tubular
glass chandelier, the most’ recognizable of the Adnets’
creations. Also marketed by Saddier was a walnut and
palisander storage cabinet by Jean Betaille.
Nineteen-twenty-cight saw the creation of Saddicr’s chef
a coiffeuse shown at the Salon
@’Automne. Part of a boudoir, the piece was conceived
Luce stood on elongated 4
housed ¢
Coewre: in sycamore
within a circle; the large central mirror extending on its right
semicircular sweep to a cylindrical stool with
cushioned seat, and on its left to a chest-of-drawers on top of
which was placed a spherical lamp by Dunaime. The model
appears to precede by several months a nearly identical piece
signed by Paul Poiret for Lord and Taylor, New York
‘The concept was at once avant-garde and feminine, its self
containment, however, making it a difficult item to place
within an ensemble
A 1929 article in Mobiler et décoration by G. Rémon on the
third Exposition Décorative Frangaise Contemporaine at the
Pavillon Marsan underlined the celebrity status acquired by
Saddier at that time. Illustrated were ensembles and indiv
idual pieces, often in collaboration with Edgar Brandt
(wrought-iron), André Adam (decorative panels), and Lehu-
cher and Chabert Dupont (window shades). Everything was
ultramodern and sumptuous. Remon was unequivocal: ‘The
Saddier brothers have the worry of keeping ahead of all the
best cabinetmakers of thei time.” Brave words, indeed, about
any Ruhlman contemporary
From 1930, Saddier interiors were anonymous: clean,
angular furniture in Honduras mahogany or burled cherry,
often with pronounced metal mounts. The firm was quick to
draw on the talents of others to complement their furniture.
In 1931, for example, Raymond Quibel (decorative panels
Renée Kinsbourg (carpets), Mlle Cettier (wall hangings and
curtains), Sabino (lighting), and Marcel Goupy (tableware
marketed by Rouard) cooperated in a dining room retailed by
Brunet, Meunié & Cie Sogqot, Lonis.
Sognot was born in Paris in 1892 and educated at the Ecole
Bernard Palissy. Training, presumably as a cabinetmaker, at
Krigger, a well-known furniture manufacturer on the
Faubourg Saint-Antoine, was followed in the early 1920s by a
move to Primavera,
Sognor’s designs were given individual credit at the Salons
from 1925
Sognor’s importance is linked to the introduction of metal
into interior design in the late 1920s.
impeccably sharp, matched exactly the bold and clean sweep
which tubular chrome brought to furniture. His quick grasp
of the medium’s aesthetic potential propelled Primavera to
At the firm, Sognot
worked closely with Chauchet-Guilleré and Guillemard, but
his principal collaborator for many years was Charlotte Alix.
Ofthe numerous works they designed together, the chairs, in
tubular or flat metal, were the most exciting, their high and
angular frames upholstered in leather or rubberized fabric.
Sognor decorated two rooms in the Primavera pavilion at
the His boudoir, with paintings by
Madeleine Sougez, was less successful than the adjoining
bedroom which imparted an air of intimacy and femininity
The angular furniture was in warm woods to which Goujon’s
His style, always
the forefront of the modern movement
1925 Exposition.
«pets brought additional colour. Elsewhere, he showed a
piano designed for Gaveau, and several chairs.
A cofounder of U.A.M. in 1929, Sognot displayed a range
of innovative furniture at the group's yearly exhibitions,
several examples of which were illustrated in Répertoire du
goit moderne, IV and V. Whenever possible, a piece was
designed to serve more than one function: desk tops opened
to interiors fitted as dressing-tables; pedestals enclosed
compartments which housed smoking accessories, such as
pipe racks, tobacco jars, and ashtrays. Even walls were
movable; his administrator's office at the 1930 U.A.M
exhibition could be converted into a recreation room.
Notable commissions included an interior for Jean Carlu,
the illustrator and poster artist (1930); furniture for his
Highness Y.R. Holkar, the Maharajah’ of Indore (1931),
offices for the newspaper La Semaine de Paris (1930); and the
first-class cabin for the resident doctor on the Normandie
1935;
Sognot’s celebrated 1931 double bed for the Maharajah of
Indore, in Duralumin with twin glass end
from two earlier models: the first a single bed for 4 Colo:
he Semaine de Paris exposition; the
second, with a coverlet by Héléne Henri, for a first-class
cabin on the Atlantique the following year. In 1952 Sognot
tried a new material; his set of dining chairs at the Salon des
Artistes Décorateurs were in moulded and lacquered Lak.
armé,an incombustible paste.
les, evolved
use shown at the 1930 L
s
Lirtle further information has survived on Sognot beyond
that he lectured part-time as a professor of Decoration at the
Ecole Boulle from 1926. He died in 1970.
Subes, Raymond Henri
‘The Appendix to this book gives an indication of the volume
of Subes’s work; individual articles on him in 1930 and 1935
issues of Mobilier et déoration and in Art et décoration stress his
standing with contemporary crities. Subes inherited from
Brandt the mantle that had been passed down by Emile
Robert.
Born in Paris in 1893, Subes attended the Ecole Boulle
where he studied metal engraving, and the Ecole National
Supérieure des Arts Décoratifs. His first employment set the
seal on his carcer: a three-year apprenticeship in Robert's
atelier in Enghien-les-Bains.
‘were put into practice
medium were absorbed, to be later adapted by Subes as he led
his metalware colleagues into 1930s design. He learned
quickly, and in 1919 was appointed by Borderel and Robert, a
Here, theories of metallurgy
Here, also, the traditions of the
prominent architectural construction company, as director of
their metal atelier. Business flourished. Commissions poured
in from architects throughout France. A cursory glance at
Subes’s architectural commissions in the 19
| 208 shows the
range of work undertaken: churches, cemeteries,
ments, exhibition halls, and hotels. Production was g
large part to these commissions, and though Subes displayed
a range of furnishings at the annual Salons, his importance
cannot be mi
wsured by these smaller items; most of his fours
de force remain unidentified on building fagades and in the
bold sweep of a horel’s stairway balustrade. Many more were
stripped and serapped when the ocean liners Ile-de-France
Atlantique, France, and Normandie met their ignominious
ends.
Subes’s displays at the Salons included commissions for
other exhibitors: in 1927, for example, the steel frame for a
Ruhlmann bookcase and a wrought-iron doorway for Michel
Roux Spitz. Later came work for Maurice Jallot and Porte
neuve. The 1925 Exposition generated ironwork in the
Ambassade Frangaise, Hétel du Collectionneur, and the
pavilion of La Société de I’Art Appliqué aux Métiers.
Subes’s choice of metals matched that of Brandt: a basic
preference for wrought-iron interchanged occasionally with
bronze, patinated copper, and, in the 1950s, aluminium and
steel, the latter either oxydized or lacquered in Duco.
Sie (Lowis) et Mare (André)
The partnership of Sie and Mare brought together two
dissimilar talents and temperaments, out of which came a
4 strongaccord, described by Jean Badovici in his introduction
166 to Intérieurs de Sie et Mare as an ‘admirable assox
dissimilar minds which combined the best of their qualities to
put them at the service of Beauty. One provides a sure and,
precise knowledge and a rigorous sense of geometry; the
other a refined and delicate sensibility. Sie is the architect
who plays with numbers and spaces; Mare is the artist whose
emotional richness makes the abstract constructions and
austere equations live and smile.
Mare was born in Argentan in 1887. Tuition in painting at
the Académie Julian was followed in 1903-04 by particip-
ation at the Salon d’Automne and Salon des Indépendants,
By 1910 Mare had begun to place an increasing emphasis on
the decorative arts, including bookbindings, furniture, and
complete ensembles in his Salon exhibits. From 1911 to 1913,
Duchamp.
Villon, Maric Laurencin, Jacques Villon, and others
he collaborated with an imposing list of artists
exhibiting his controversial ‘Maison cubiste’ in 1912. Associ
ation with Siie came came immediately before the war though
their relationship was not formalized until the establishment
Arts Francais in r919, With the
outbreak of war, Mare volunteered for action, and his wife
Charlotte, executed his furniture, carpet, and fabric designs
until the armistice. On the dissolution of his partnership with
Siie in 1928, Mare returned to painting. He died in 1932,
of La Compagnie des
Siie was born in Bordeaux in 1875. His father, Eugene Site,
wasa doctor, and persuaded Siie to pursue a medical career at
polytechnique. But Sie’s passions lay in the arts, and
he left in 1895 for Paris, where he discovered impressionism,
then all the rage. He enrolled at the Ecole Nationale des
Beaux-Arts and received his diploma in 1901. Further studies
in architecture completed his education. He was now ready to
put his diverse talents to the test, exhibiting paintings at the
Salon des Indépendants and the Salon d’Automne, and
designing houses in the rue Cassini (1995) in collaboration
with Paul Huillard. In 1910 he formed an association with
Paul Poiret, decorating the latter’s houseboat Nemade and his
residence on the avenue d’Antin. In 1912, after Poiret had
formed La Maison Martine, Sit established his own decorat
ing firm, L’Atelier Frangais (see ill. 244), on the rue de
Courcelles. Siie served on the Eastern front during the war,
returning to form with Mare the Belle France at 2
Friedland, a prelude to their Compagnie des Arts Frangais at
116 Faubourg Saint-Honoré. Numerous commissions fol
lowed immediately, both architectural and decorative, in
cluding that of the cenotaph in the Arc de Triomphe.
The partnership lasted until 1928, when Jacques Adnet
assumed the firm’s directorship. Sie continued independ:
ently, as an architect and ensemblier, until the Second World
War. During the 1930s, Siie’s commissions included shops,
stage sets, offices, and private houses, He settled in Istanbul
during the war, lecturing at the Academy of Fine Arts. He
later returned to France and retired to Gascogne,
167
jon oftwo % Bordeaux, where he died in 1968,
‘One key to the firm’s success lay in its team of collab:
orators, which included Jaulmes, Vera, Dufresne, Drésa,
Poisson, Marinot, Desv Martin, Boutet de Monval
and several others, each free either to create individual works
or to participate in group projects. A complete
Participants is given in The Extraordinary Work of Site et Mare,
the catalogue of a 1979 exhibition at the Foulk Lewis Gallery,
London,
Sie et Mare produced a wide range of furnishings and
objects: clocks, ceramics, lamps, fabrics, wallpapers,
and silverware. For their furniture they used many different
ist_ of
woods: macassar ebony, mahogany, palisander, burl walnut,
ind ash, Some pieces were in pale woods, such as
beech or birch.
Important clients included the director of the Danow
theatre (a villa in Saint-Cloud), the Duke of Medina Coeli (a
living room for his palace in Madrid), the Countess of
a townhouse in Madrid), Charles Stern, M.
Kapferer, M. and Mme Girod, and even several pieces of
furniture for Jacques Doucet
Goyeneche
Slie et Mare’s furniture was tradi
ly inspired. Traces
of Louis XIV, Louis XV, Restauration, and Louis-Philippe
are evident, particularly the latter, which they considered to
be the most recent legitimate style. As Mare explained in a
interview with Léon Deshaits published in Art ef
ion, “The Louis-Philippe style, for along time favoured
in the provinces, is the most recent to date of French
is rather clumsy, but earnest, logical, welcoming. It respon:
styles. It
ded to needs which we still have. Its forms are so rational that
the motor-car designer of today who draws the interior of a
car uses them unconsciously. We are not reviving it; we are
not deliberately continuing it, but we find it while secking
and through it we bind ourselves to the
whole of our magnificent past. We are not creating a merely
fashionable
out simple solutios
art.” The partners developed their theories
further ina 1921 manifesto, Architectures. From the 1830~48
years they took the comfort that the period's cabinetmakers
hhad built into its austere furniture, Stie et Mare's armchairs
h
upholstery offering comfort and luxury. Other models were
Baroque, even theatrical. Their imposing desk in Gabonese
ebony, purchased directly by the Museum of Modern Art,
New York, from the 1925 Exposition, incorporated ormoli.
feet cast as elongated fronds ~ an updated version of rococo
cabinetry
were |
ind inviting, their tufted, colourful velours
Few if any designers of 1920s furniture developed a more
distinctive style. There is no mistaking the squared scroll foot
on mid-r920s chairs, or the mother-of-pearl and silver
veneered bouquet of summer flowers on a matching ebony
commode and cabinet. Not only did their furniture echo the
past, but it was profoundly French, a fact emphasized in the firm’s advertisements, Sie et Mare described their broader
philosophy in a note in the catalogue for the 1928 Lord and
Taylor exhibition: ‘Our Art is essentially “human”. We
believe that our dwellings are made essentially for human
beings and not for automatons. Therefore we strive for
warmth and harmony, supple lines and reposeful forms, in
order that the home be restful and in contrast with an ever
more exacting and harassing type of existence.”
The 1925 Exposition eclipsed all Sie et Mare’s earlier
work. Un Musée d’Art Contemporain, their pavilion on the
Esplanade des Invalides, received almost as much attention
as Ruhlmann’s nearby Hotel du Collectionneur. Comprised
of arotund:
id gallery, the interior was decorated by a wide
team of collaborators, including sculptors, carpet and textile
designers, and painters. Colour and sumpruousness aboun
ded, the furniture in carved giltwood upholstered in Aubus
son tapestry \¢ firm displayed furniture in the
Ambassade Frangaise, the Parfums d'Orsay boutique, and
the Salle des Fétes; a harpsichord in the Pleyel stand; silver
‘ornaments for Christofle-Baccarat; and decorative key plates
and furnishings in the Fontaine & Cie pavilion,
Suisse, Gaston:
Suisse was born in Paris on 1 December 1896. Known primar:
ily for his lacquer work, he described his paintings as ‘apres
Nature’, Themes included lush equatorial forests inhabited by
lemur monkeys, and birds of paradise above streams teeming
with tropical fish,
Suisse entered the Ecole Nationale des Arts Décoratifs in
1915, enlisting the following year in the French infantry
Demobilized in 1918, he returned to complete his diploma
under Paul Rénouard and David. He graduated in 1925,
making his début the following year at the Salon d’ Automne,
where he exhibited for many years. Shown was a wide
selection of screens, panels, é/uis, and boxes in lacquer and
eggshell. Private commissions included furniture in both
modern and Oriental styles. Suisse frequently worked on
wood or masonite,
lacquer to which were added polychromed or incised
decoration. In the early 19308 he switched from lacquer to
nitrocellulose, a synthetic varnish which proved quicker
drying and easier to work with than traditional lacquer.
Suisse’s atelier in the 1920s was at 42 rue de Tolbiac, and
later at 47 boulevard Saint Marcel, conveniently near the
Jardin des Plantes. He exhibited frequently outside of the
Salons in the 19508, providing, for example, the mural
decoration for the Temple Ankor at the 1931 Exposition
Coloniale and a reception hall in the Palais de Tokio at the
1937 Exposition Universelle, the latter in collaboration with
the artist Cottet. Touring musuem exhibitions at the time
included Brussels, Zurich, and Cairo.
ipplying a base coat of gold or silver
Seabo, Adelbert:
Hungarian-born, Szabo became a naturalized Frenchman,
establishing his metalwork atelier at 15 rue Emile-Dubois in
Paris. His career in the decorative arts spanned thirty years:
as early as 1907 he exhibited his ferronnerie at the Salon des
Artistes Décorateurs; as late as 1938 he showed a wrought
iron door commissioned in
Angouléme. His pre-First World War works were inspired
by historicism rather than the prevailing Art Nouveau style.
From 1919 they showed an accommodation for le style 2.
Szabo's range of metalwork was both small in volume and
size: chandeliers, grills, radiator covers, mirror frames ~even
key escutcheons ~ were the norm. Only occasionally did he
accept commissions for architectural projects; for example, a
clock for the fagade of the newspaper Le Temps building in
1921, and elevator doors and stairway ramps for La Banque
de l'Union Parisienne ten years later. A major undertaking
both in size and importance was the door of the first-class
dining room on the Normandie
Wrought-iron was his standard medium,
occasionally used bronze or wrought-copper.
by a charity institution
though he
Vera, Paul:
Vera was born in Paris in 1882. Nothing is known of his
upbringing and education but it can be assumed that he
ended one of the city’s fine art schools, since he emerged
after 1900 at the Salons as an accomplished artist/decorator.
Amul
technical proficiency and a sharp awareness of the prevailing
fashion.
Vera explained his style, which depicted young women
and flora ina whimsical Art Deco manner, as one which
stressed the link between interior design and architecture. He
wrote in Les Arts de la maison: “The future belongs to
architecture. Insofar as the great social and economic
| problems have an artistic or aesthetic expression, they will
| have to be solved in the first instance by architecture, by it
and with it, but never without it”
In the 1920s Vera produced a wide range of interior
decorations: painted panels and murals, bas reliefs, tapes-
tries, wallpapers, fabrics, and wood engravings for book
illustrations. Favourite themes included the Four Seasons,
garlanded flowers, fruitfilled cornucopia, and allegorical and
mythological figures. Orpheus, in particular, was reproduced
in various media. The critics approved, listing among the
artists's talents an. irrepressible optimism and
humour.
‘Vera is best known today for the wallpaper and tapestry
designs which he exhibited at the annual Salons alongside
examples by competitors such as Raoul Dufy, René Gabriel,
1, ‘Les Trois Graces’, displayed in 1913, shows both a
168 %
Tinota, and J.-E. Laboureur. The wallpapers were printed ? nie des Arts Frangais. Vera also provided painted decoration
and marketed by La Compagnie des Arts Francais, the | for some of Sie’s furniture, for example, a lacquered dining,
tapestries executed by Aubusson. room screen entitled ‘Le Pain, le vin, les fruits, la viande’,
A long-standing arrangement was established in the early | shown at the 1922 Salon d’Automne.
120s with Louis Sie, who designed tapestry furniture Two Paris addresses were listed in the Salon catalogues: 72
mounts executed by Poisson, a cabinetmaker at La Compag- g rue Blanche and 61 rue de Rome. Vera died in 1938.
” ‘The Appendix consists of lists of the furniture displayed
between 1920 and 1935 at the two foremost annual Paris
Salons by most of the cabinetmakers, designers, and archi:
tects whose biographies appear in this book. Entries have
been drawn from the Salons’ catalogues to provide a
chronological record of each decorative artist's exhibits.
Although a substantial proportion of an individual's yearly
output was nor shown at the two Salons, many exceptional
works were included in an attempt to catch the attention of
both the Salon Jury and the press. In addition to a descriptic
of the type of furniture exhibited, the lists detail the artists’
choice of materials, their collaborators, and their retailers.
Four Salons were held every year in Paris: those of La
ociété des Artistes Décorateurs, La Société du Salon
d’Automne, La Société des Artistes frangais, and La Société
Nationale des Beaux-Arts. Two of these gave special em:
phasis to the decorative arts: first, the Salon des Artistes
Ad, Jag nd Jo 934: Lacquer
4
Décorateurs, which from its inaugural exhibit in 1904 moved
back and forth between the Pavillon de Marsan (now the
Musée des Arts Décoratifs at the Louvre) and the Grand
Palais; and second, the Salon d”Automne at the Grand Palais.
The former May-June, latter in
October-November.
Both Salons were given extensive coverage by Paris’s
leading fine and applied arts magazines, in particular Mobilier
et décoration and Art et décoration, Wut it was not for this reason
alone that most furniture exhibitors felt the need to partici
pate. Just as important were the opportunities the Salons
afforded to measure the progress of coexhibitors within the
preceding six months and to keep abreast of new develop-
ments. Very few furniture designers ard,
Dupré-Lafon, and Frank ~ declined to participate at all
Others exhibited intermittently at either one or both Salons,
‘most notably, Coard,
Selon dt Artistes Dicrat 998 Sth meal foo: marketed OF La Compage des ‘Bronze desk clock
gate Passions, scecertd by Ea Marine Ants Fran 1924: Dining room ensemble; marketed by Saddier et
7: Salon comer in collaboration wih Schenck as . . ee ann
lund gs and 7 Benard
sang smiture in peroba marketed by tris, André Lion im palisander with ivory inlay; marketed
0 ch 958: Smal lady’ de and chain ebony inambuyna and thuya
she corcedia wile hey i abe sje! Kasei
rhe > Baek aeqreddsk pa
Art Fangais, 9 in collaboration with Henry" ved mahogany and painted
crams), ave Chaser age), erin cedby'LEpoqessemcle ; Ht
sd Lapeyre (wal pine nS ae Seca sates
veil tat . ome ubleandcomsleinsbony, ae
39 withpolsed gstopsncollaboratin wih 1924 Commodeand saconces |
maid by Ls Comp Marcin: Sane (Gecoraivepancs.and La 1926 Ding and smoking =
Soci induwle des Pyrency;maikceby NETS Fes
ey ‘ ; Jewel bine y aul Bend
) 19s: Comer bein gaan, he bedboard ak: Ensemble oat mitre cnbroidered by
yea: Vide caper by La Maltin truer by ‘Le Pa e Sab (7 Champs
rs ee z ~ .
ibrar and smoking roomy the Salo de Arte Date Frumiate fibres and caper; mrtered
or! Nuncry in pated wood Laces Bir (ye do Ma
% gap Fabri and eps
Dining
pera
Baer Bret, Maar gi Dining soon of rele dexiga cnstrcied in Radietor cove, in collaboration with Mex
eerie Squtr roan cing bot aed eet ba Blonde
sole cles pete a pee Newceret rgncs Alice gates in wrought iron
1932: Equipment fora smal kitchen including Tether «sivercabinets dito covern, npanel 1925: Selection sf ren-work
smcalli orirne, marhee by Le ‘Ecorse by Edelmann sndaceling Gtturby 1904 eau and Les Coca’: wrought
Iter oy Les Bebisemenes Lemence oes
‘ere oven by La Sock Alshom
fefnigerator by Electo Lux; plumbing b
Geoter Gutnciu ct Fils; te on wheels ad
‘uit rrheed by Faro (1 bi, ven dela
Repub
soya: Equipment fora study including meal
farmture, working able swivel chat and ling
Bors cro; marketed by G. Es and J i
Smoking-oom, comprising a bookcase with Pa
‘tele set and phonograph, bridge able ang Wrowgheion
‘har cha divan, evolving bookcase and ‘Hambeaus wr
igh farure by Ress Lacrlt tnacketd by G La Fore and" Audaces wrought-iron lamps,
and J, Dentey incllaboraton with Hens avie (reine)
930: Grand wise lito, compring lange piece 1936: "Geneon wrought son a
essogten: marketed by Plante: and vtrine, commode in choy with jlarhat Heracles and "Le Zoxlaguc": wrought-iron
An imellecra's sudo, incdng equipement patel, crear in bat haya with interior panes with lacquer by Dunand
a vth Hen Favir (architec
Goer imac aniance, | Renn cts lg iia snr Larson Gier Bolio
screen by Joes Dunand enehcied by. end Verne with wrought toa objects amp
cess 1: Storage cabinet, bl thuya with pewter il Vices with wnigiotonctions
corer manteedby Gta) Daweh For amp wotgion and mate
Afmchait in wood with Aubusson tpestr pasa tb il Sierteaesd casera eo ame : :
799° enlaboration wth Louis Midevaine densely pioed Gaing osm lscaidng oak In callaboeation whch Mee Chabert Dopont
spss: Aged Or dooney for grand sal
sboration with Hear Favier (architect) and
Max Bondar (sulpeue
Ma fore viewing poo! Besnard (rears)
facta temps fuintag) arsed by ©: Ecard ). Desry Lui set Auemae ioe
eon 1921: Bookease in macassar ebony 1926: Decoration of a hall inc
Rachrnenn Masport Gro, aod Mit Y
Boman; mathete by Stadio-Athelt, Sead
1930: Grand reception hl for Le Cetle de Ua
Ineralie fa collaboration with Depuech
Sudo" Adhelia
Smoking-oom in collaboration with Raoul me
Duly, muskeed by Banchin: Feet
ger: Aces log caape and dees tb
ar erboyen ed pall
sg: Induces sod tn planer Baral, Jon
Sead and dining oo neding bute
fookase, able, desk, chat 6 chats and ivan,
tabasco wood mahered by. Esnd
Salm es Arties Dcraors
pores, marketed by Finn & Cle
Denner 120; Project fora musi room in Hen Rapia’s
‘uemble witheliverware and fle ngs
abt Lon 24: EmembleFor"La Recpion et incite an
Salo de Arties Disa Bron. ager Reh Fouad Gultea Geen
I: Dining room in waxed wild chery ae opera oe cue
Cellabraton with Brandt (chandcir), J Luce Sal der Arte Désraters el ee wn amariss
(severe), Thomas (printed fabs) sd L 199% Mca lamps and objects with sections 9
SEE clpre) worked by Le Sele d Antone
Conforatie 120: Lampe and jects spot pals
tallsboation with Dinace(cbloery La Compageie Generale Tanta 9s Lin Pace Publique: Boutique #7 Phere
1936; Chifonmer to arsboyea, hase onge ia frllaboraton with Bouwens de Bolen Iman in collaboration with R.Landeut
pulser, por td srchair yea aecine) ined glans windows), E, Brand (weooght
frutheed by G.E and J Denner 1921: Door of the monument*Aux mors de Verdun ron doors), jean Booe (abr designs
Halls palsnder, marketed by Gand J dela ranches der blonetes' in wroughon, ‘rctes) Mine Pores (carpet Jar. Mart
Denner incalaboration with Andre Verge atchiee) tench and Fas and Cul ceramic vases
5: dastri’s scady in pallsander Sonal rs work an lighting eure 925; Sheth Champion, Go + Dining room, machete by Pimavers
Sal de Arties Dian
CGuilemard, Henn Tourn, and Mle.
all
onan chien (Chin's bedroom in painted wood, in
ae clio with Nore Cascmard
te Olesiowes (Jecoreton
fxeciegaigmen ted | ete
and drapes) and Lallemant (ceramics); marketed "932% Dining rom, marketed by Peimavers
19! Desk, camapé nd snc aoa ee
Fireeetne kets see Big ramadan Ls
Necture fora se 1 Mansbedworn ealusoston wel
von Le Reon ite dan apa Giiean Oe ete nd
Stevens, study by tegen, dining room b fates ape by Deemer
Eileen Gray, dete by Burkaer,pataings Vittine including vases, coupes, and bowls
and seulpeuseby Bonnard, Laurens, Lary, ew
Boudeie, in collaboration with Jean Lurgat Hei ca oper tad ta reo pags
1902 erie Seton al Seng ones oeeeteed
= ae Fagade for a carpet shop
igo Ceti peer ac 8; Exe of apes poi nok
Une Pice Publique: Boutique 9: "Paerve en Pena ee
Chareaw’, in collaboration with Burkhalter and Se anaes
Dalbet (wrought-iron) fo Ps
Tour Grand " ‘carpets in Leleu stand
1951: Sketches and model for a House of Glass jon ares
13det Meal paneling ore conn ler ei i ee ee ees
Scheelder saison eel 195s: Carpets for Leleu ensemble and René Pro
Carper for Montagnac and Gli
arpet bourique with da Siva Beans carpets
(Grpet ensemble apn ma le maa
Maharajah of indore
sess
(Grp ford Siva Brats nd Lelew stand
nes YR Holt,
De Bere, Ge
di Artes Dieter
Logs pre
decors
Eugene Capon
Salon in mahogany aed bus! Burmese wood in
Tigh), Sylvestre (brnvelow-rlt), Jean
Ghifonierin mahogany, palisande, td
Tahlia ym Ls
i aciboyen eed fry
with Robert Bone wall hangings and sas
Marel Coupe arp), Le Vere Arn
Bedroom pincer in cllsborstion with
Genet and MichonCighting), Bont
wallpaper, bed covet, an ik upholstery
Mme Chabert Dupont (window shades) da
Siva Bruns (arr) sed Bein and Lapse
ipineng on wood in Soc B)
Dining room furitue, light atures, teks
‘with Hl. Pinguenet(pochoirs, paintings and
arpets)senceuted by a Maton Masel Coupe
Viteine with objects in sculpted w
callaborcon with Mme P Riviore
mbroide), H.Pryuene (mural decoration
Sd Joueph Berg (punting)
Ensen fora boudoir in sycamore and bur
srl Mile Mery (window shade), Georges and
Eugene Capon (wrought inom charlie)
XK Lachend (ees
Dining
Borntie word,
sod Mle Mery lind
pon hing
Margocrac Lebuet
‘Badtoom in mahogany and burl Burm w
incolaboraton wi Ame Pango headboard)
Targe round bein mahogany and bul
Capbensd it mahogany andamboyna with
phot in mahogany and burl Burmese
Ensembl, with molded las light istures by
Ensemble ncaa and syathti
‘marketed by Les Etablonernnts Marel
Incollaboraion with Parape (coaiwood
Statue), Genet and Miho lighting, and
Emsembie including» git- wood clock, storage
‘har aymtheticlacpocred marots exper
rated by Marcel
with Feigebemes, Fis
Eeape; i calabort
& Ce (walpaper and Bedroom in palsander; a collaboration with
Genet and Mrchon fight), Rober Bo
(ellpaper, bed cover silk opholsery
{tine Chabert Dupont (ind) da Sia Brabns
(arp) and Berta and Lape (painting on
79° Fo Michon lighting). MG
fhe Blande (ana
with able op, char epost with fed
rivet x small paogany able with marble top
follshostion ith Genet and Micke (ightng)
4: Gueridon in mahopasy and bul amioyea with
mule
ation with Genet
el Coupe (earpets
Demalire,Richard
Sword handle presented to M. G. Desvaliées
by La Societe du Salon d Autom
satey
cca Sap
Architectural project ora exaurant na park
3: Chimney excited by la Maison Faye ulard
it: Orie bed
Ave
927: Belroom fora yacht
92d: Fabris and carpets by E
329: Emunncewty ofthe tpt Sloe
PevecaCighting
199° lag oom, a collabestion with Perse
ighang) La Socks ElcrCable (ber
atper) Sie Bcpincing
er of stom, pated fabric by Else Dj
‘Dining room: “Myne,matkcted by Studia
Tour cnlsboraion wth Léon Leyes and
Ifand . Mane
Thor il marketed by Studio Louvre,
‘ollaboration with Leoa Leite FA, Quad,
Bregenun and Burkhalter
ya: Sng rom nthe ener, make by
Une Place Pabligue: Bouique #4
debovrspes pour uae bjowere
tts: Desk in plane and scam
1ga6: Meiteraiean il
>: Chi’ bedroom Furitare in cork carpets by
Else Djo Bourgeois
Vilaat liye
129: Living toom, in collaboration with Elise Do-
‘Bourges cushions), Paul Brande (jewel
Jean-Georges and Louis Téard (aver), ad
ES Taedy caver)
19yo: Exhibition oom fra ange hotel, in
collaboration wth Else Dyo-Bourgeois (ks)
Paul Bran Gpwely) Jeat-Georges and L
Teand (pects mesa); and Valery Broward
1932: Maquete
Madoc ofthe vill’ interior
tgs5: Ro the Cine dAzur
Doninqe (Demin, Ane ni Gmurie, Me
Sala des Anise Dire
toe: Ladys tady in collaboration with Piforat
(amp) a Siva Beas (cept) and Redard
Seo ensemble
Lacquered furriute, market
1351 Deng room, marked by Doenague
Iyer, Ensemble in amaranth an paisander, with
carpet by da Silva Brune; atheted by
Dominigse
Sale et Artes Dirt
‘Seal sb with gery maple and gol lacquered
emitoerond mart peters
22: Dining room, marketed by M-A.M, incding
‘ommede in macs ebony with marble
Anda smal brown lacquered desk
g29; Roore mated by Le Syve, Bicheroa's art
930: Lin
acca
om, matketed by Le Sve, Bicherons
193s: Studio: white and royal bie, ncuding «able
in chromed ste and lass ics, cas
nda large cabinet in
poled plsander and chemed ee
Frarketd by Au Bicheron
919: Drawing room in silveed aequer
Dressing room, matheed by HCA.M.
20: Drawing toon orange laegacr wii columes
in mare, the cals erved by Binet he
Furitre in amatamt and slvr; matketed by
921: Bedroom with fernitur in indenwood and
pewter marketed by MAM
2: Bedroom in grey bitch, mahogany, and silver
weequer
196
16: Copboard ia macasaschony, ivory, and matte
Porat of Se Eve France
v92y: Gas ampatades exceed by Boris Lacrois
Panel ered by La Soc de Tia
yh: Balto’ des in maple with me sd oper
Iely, machete by hu Blcheron
Dimiag room rin sycamore and walt
sap: Bedroom metal giae tes and jean,
marie by Le Syiv, Bicheron'v art sud
in obvcwcod, plz and polished meta
‘macssar ebony and polished Duraumin and.
‘Kakand bookcase in syamore and polished
Daralumia; masketed by Au Bichetor
ys: Lady's sla npain, ah and genet
merleced by Au Bacheron
Dafne Masrie
oe
Ponte ingen
Sareea
Fi cereale
oop stat
Sere tei lta
pe Tha a
feces promi
Sean canes ae Dining room, ‘La Comtos’neluding
Stra, snd mat and beans back cea oe
Rea lacquered doorand window
Geet ame err pid
Paul Pouche design, Speich Fre (urn
Gilardni (oor i), Baudemane (ior
Labudie ighting), Valentin punting). sn
County inter, Cantril communal all
and bedeoom coneting of faniure in French
La Prarie’ wall abi), Pare Labadie
{gouaches), La Maison Nicpee (abit), F
Beturehe (or ling Ste B paincng
‘Baudemant (irom). Tangle Risch arta
‘och) and La Manutacture de Tap et
‘Condoue combinable Furniture der for
becroom, dining room, and son in snched
‘ak ehaced with ed ree, yew. or white
opper tein cllubration with Jacques
Metter (design, Speich Fees (ature
Brunet and Sec panto) Les
Fnalssemens Olgnir (rami and quartz
tiling), La Maison Nepean sand
marked by La Maltese
‘Bedroom, in varnished and inlaid mahogany
callecton of M: Bennie
Bedeoom fors young git polished maple and
flisandce wich margetey, collection o Mlle
Kichlone Mouges
Grand Sdn,eluing § panels by Félix Bellen
Music rom and mural donation
Bedroom, ebony, palisaeder and casa
hony: marketed by Galenes Lafayene
Vie including objects, marked by Galeries
Fura, marketed by La Sytéme Breveté
Dining room in cal collection of Mime
Lassa, maketed by Mase
Bedroom, L'Orie in walnut, mahogany, and
Zingana, with marjetey
Offic, “Zol’ i ambos, markeed by La
Maleree
[brary marketed by Galeries Layete
Serce in collaboration with M. Maingonnat
Dining oom, ‘Nepeane in cllahoration wit
Galil Englinger and Jacques Metsermana
(design), and Olver Desbores (cabinet
Dining oom in collaboration th Gabel
Enplingr(earpe) aad Vasu and Guily
Counc chamber
Boutique andes
Boutique aed hidressng salon
$ctions of 'interehangesbie and juxtaponabe
farmiare for multple usage na bedvocen,
dining oom, and work re, marheted by La
Office fr the President des Gens de Letres de
France, nalled i the residence ofthe Duke of
Massa onthe Ghampe-Elyces in 1784 and
teconstacted by Andee Verve ia rove Le
Pare de Observatoire, in collaboration with
‘Yencese (bronze), Jean Bestar (ceramics
sind Peri feniture
1981 Cabinet in varnished mahogany, ches,
virin,and Gcarpes
2 photogeapis of imteios, including 2
Cinemas Bedrooms living tooms: ding
‘rooms fardreasng salon ches and al
trated by Gales Laayene
5: Enembl,ieing secretary, tale in black
palisinder, cai, ren in meta sel
purchment, and caret; masketed by Gales
Teeyene
1934: Dining room, including mural, urivure in
‘amishedsyeamore, wallpaper and carpets in
Cllaboraion with Narecle Makonsict
(design), Venceae (selpeure), Deer
(punting), Speich (abincrey), Le Manufacture
Tapis et Couverture (capes), Brudemant
(miro), and Bruner (ping in Ste 8
1919: Vases and metal objets
+ large green copper ves
‘Meal objesiniading ashtray, poder
bones and inkwels
Plate and vaes in Théodore Lambert's
12: Lacquered pane designed by Henri de
‘Chasse: lacquered panel designed by Georges
Dorigaee
Gomnmode designed by Jean Goulden
Le Chutaignie panel by Scmied
Rouge panelled lnequredsrcea
Leopard et Cb acquced seen designed
tye Joure
924: Varour objects inclading copper and silver
Tac Leman ered srcen designed by
Ber
‘Nigar’: -panlledsereen and various objets
Aigo’ panel in eves
Decor geometries pancin eaves
‘Osc panlny nes
Josephine Baker’ panel i leaves
Tableands armchair in own leur
‘Grand Carey purlledserecn
190: Boudin crstlised and carved beige lacquer
Vestibule: 4 lrgelicguered pence ons sive
Two lange vats in lcquered pod metal
Toequeredsren for Bouchet’ stand
"elephants nequered peo
19st: Lacquered screch
Taequered and inlaid meta objects
1932: Heron ts panel eee in Block aequce
Incruwed and equeed meal object
1935: Lacquered sere
Amines Deconseere
154: Screen td decors panel
es Vague: ancl in eave black aequer
Virineineloding objects in diverse metals
Visine inlading objets in diverse metals
‘Mousters Sui Man sereen in Japanese
lacquer from design by Hen de Woroguiee
‘Vierine ncluding abject in diverse metas
itn including objets i divere metals
Biches sree in svered lacqoet
Viti ineluding vases in lacgucsed aad
incrated meal
1951: Lacquered panel and vitsne nel vasa
icrsted and lcqueted metals
1933 “Religion laoqered seen
‘Chneen Crom mona
194: Biche" punled brown aeguered sereen
Paper eer
Salt Arties Diets
1924: Painting, poner, and catalogue cover for the
th Salon of he Societe des Artes
Becorteus
926: Engeavings and paintings
7: Cartoon forthe can ir He de Fre
193 "Le Thureau Nose: watercolour 2 Amou et
Payche seth
193s: Designs
El Bale (abe Fret)
Sales Artistes Dict
1926: Gallery of sadene? works, including bronze
and sel pees exceed bys sre th
et stadens, tds sere desig by]
Rothschild and embroidered bythe stadents
Litgeeabine inlemonwoont with eched pl
Cphoard wh mance
‘Gomme with cise bronze me
Eglin, Gabi
Salo de Arse Dire
with lx Rensdne de Meuble
1H: Dress room in but ash wih carptin poine
‘hou, poled irom gate an aa
Vestibule furniture pasandee
Study incuding bookae, desl and swivel
desk char in volerwood ands armchairs
Pulistode, the wdc of the desk forming
Pookshelves; witha low tbl and scoees in
frosed plas: Caspers in che say marketed by
Hamot Fetes & Ce
{hu hanging bookshelves marteed by Le
Stadio ben
1930: Dining room in varied wale,
collaboration sith iret seule), Stéphan
(lighting), Veron and Larchevéque extincey
Small aa in chestnut and synmore carpet
colaboraion with Cappetin
lamp, chandelier, and belt in Veron
(Gildea bedroom with lacquered fariture, in
collaboration wth Raymond Begue
(photography: Mile Vaquee (wa carpe
ark by Li Laine de Cemay
Chine in mabogany and varnished pel
presented in an archers ting.)
follaborstion with Marguerite Englinger
(embroidered pal)
27: Sketch
shar, marketed by Galeries Layee
Sain ds Arsen Dra:
1921: Wardrobe it 2ebrwo0d with Boxwood xs: Ses i can
Dining room in ash in collaboration with M. J
Seceg arnred by Les Attics A, Fabre
1925: Grey maple di
Re Laeger bee
yw ph and ver
Salon € Antone
$19: Peder tom in collaboration with La Nason
2 Decor Mural (walpaper and erp
13ur: Ensemble fora studio in casa et
tmapic and ver marguetry
‘Witte pongee sl primed in lve and re
‘kerdpe de chine, yellow and white ponger
rose: Dining room
Pasi foe bok
sl gras maple
sas: Sal sant lemonwood with relief margoet
gag Dining room in mahogany
"at: Moder bedroom, marketed by La Maison
Decaux ee aoe
927: Dining room, marketed by La Maison Deeaux
yin Gabonese rosewood
Flt, Pas
Sale des Artistes Dias
9: Bing nino
20: Dresnng table and carved gi and aequeed
(Goctidon and chain amboyna and palisander
(Girdwood aimetaiand lamps
21; Bedroom i palander and amboyns, decorated
wih gacroing and marqacey
‘Carved wood lamp bed, wardrobe, bei
fable, guctidon, ace and chur, marketed
iby NL Couperin solaborten sith Schenck
anda carpe), Nene Flos picngs
{Brande conc) and Comile Peres (brs
Culldboraon with Laurent Malls (rmala
gas Stay inpalisande and marguctey
Drawing oom with carved lcqacre, and
fgltwood fumiare
Bing oom in earved lea oak
Balroom in waxed oak marketed by Pornone
124: Music tom in palander, macasar eon.
‘Carved plwood, in collaboration with Joseph
‘erurd(culpmue), Cava (organ), and Pye
1926; Qestibue and bedroom in amboyna with ivory
inky, ncallborstion with Raoul Josset
(carer and Andee Sebel altar and
felted
Bining room in walnut with ono amber,
stration wth Albers Gude
cape Ren Shad Cemaine Lay
tyr: alin plunder
ood in upc with margueey ad ver
arp, rope (lverwareceumicy and
{eejucred ratesSile Poop and Halo and
Beat in mahogany ory, and amboyna
cas wond pancling
1919: Deine dining tom with acquered wood
Nine} sideboard and ble and +2 chats in
Carved Pyeamore and coriwood:
‘Sfaboaton wih Parte Tver (Bronse
group: Femme Antilope), La Manufacture
EThpa de Cogoin exper, Dawa (aver)
tmarkesed by Wasing and Glow
Presidential fee
Smal boudoir, the goo
IRequcred in cellakne
Stand including an extesio
temchairs and large amebatein aeguered
Bavlumin tnd Morocean eather: the
frnitare od potidon in polished alumni
si murorsin colocation with Niche
Short (Cuan and woo! exspet in point aout
snd La Societe Charcs Filo walpaper) the
{tenure marketed by Studs (33 be
dravie cif in maple and bony
Armchair maple and chooy upholstered in
‘Stn, collaboracion with Max Boucher
punted wallpaper) marketed La Sosee
ares oll (ay boulevard Deno, Par)
Painted wallpaper, marketed by La Scare
Antone
‘Deng room inpulisander with marqetry
Slt peander and aboyna with
srargucry an lcuce
Falvey including lacquered and glkwood
Collboranon with’ste ct Mare, Rukimann and
Brandt wrought ion bookcase
Clrpet nhc Sc et Mave nand
(Gipet inthe Rehimenn sand
Pareipation in the exibition
HBodrooe i jcermca dbl elas
Dining oom in caved mahogaey
Viton in wrought ron, comtasning silver tex
tnd ete serves, marhered by Pomone
Bedroom in plsnaderarboyna andi
olaborson with Sevonnel (cpt
teatkered by Pomone
Badrcomn syarhenelequcred wood, with
carpet by Sevonnerie ‘lease
Study in Coban mahogany with marquetry, in
Collaboration wrth Ssvonecr (arp)
TBimourdedeu (bronzes), Wolkovih (aime)
‘marked by Pomone
Bedroom in carved wood lacquered in ‘Duco
iealaboraion with Sevonten (carpet) and
(Gaodisand painting); marketed by Pomone
Dining oon in carved paltander with wrought
‘Gurais),Sivonnene(arpet) and Cppelin
lec Venetian i)
Vienne tice es aod efi service in
sdverand ivory thocolreweevceia ever aad
ony machete by Lapara (197 ede
3 welpepet design, marketed by La Soi
GaneePotoe
de Artis Dhan
‘Country dining room, marketed by Rey Fils
Wardecbe in wnat and caved palander in
‘ollabornon with Loui Malele (eau),
snatkeed by Verot (3 boulevard Richard
Teno
Dining s00m in cllaboration with Loui
Mates capture) and Georges Chevalier
iglasware), marketed by Verot
178
Library, marketed by Vérot
Lady's room in maple and later, marketed by
‘Vern, meollabortion with Sediumn Lowere
(abet). and Genet sad Michon (ighting
say: Dining room ieloding pe cupboard dining
table and # chair; marketed by Vero,
‘gs Off including a des chesnut with
lacquered top, cote abe, be —
inwaina aphoetcred in red velvet: 8,
‘labora with Pal Frecet (sgn), Genet
hd Michor lighting), Brunet and Meune
crane and cape) sd Mame Vibe
caper, arted by Mace! Coupe); earkered
bye Ven
‘Bedroom including a bed, dressing table,
ome, mil table paltander wth
hromed copper handles, and chats and
srmchairy collaboration with Pal Fréchet
(design) Jame Berard (Clos del Bich’ La
(Ghat andNicere carpets), Gene and
chon lighting), and Mess eashons and
tbecover)smarteod by E-Jacquemi
Palnander wardrobe, cela ean s char,
im colaborason with Paul recet; markcted By
‘André and Pl), dining room sei in
‘aisha welnat with gicbronze mounts
Iratketed by E-Jacquerin
‘Young gifs bodrosnta rosewood, marketed
by ate
Gallery with walnut paling, marketed by
ake
Dressing table and lady's desk in Cuban
‘mahognny and gli-bronze, in callaborstion
Wr Mani (ote fs and coho)
Genet and Michon lighting) and Brane and
Meanie exper: marketed by Vero
Instalaton and decoration ofthe Jean
Foseder tom inching lady's desk and eh
im mahogany, gucrdon and cai slvered
trrorand mahogany. paisander chifonire: ia
‘olaboraton wit Mats carpet 8 cxnbons)
find Genet and Michon ighting; marketed by
Gallery with large blck cupboard with gi
trond mount evolving table, armchar and
thai in pearwood; in collaboration with La
Manuacfae Nationale de Porcelane de Stores
(irine), La Manufacture Nationale de
Tapinerie de Beran (Charles Mart
sketches) H.Soarde (parquet Hoot.
Pollen rough Jean ace
yalware), ad Mass (nmet and fs);
tratketed by Jacquemin en Bauder-Donon
‘Sompisel of ange capbourd detour table
iTittienne chats collaboration ith
Pico (mural decoration), Denis Get
fighting): Brunet and Meunie (exept
martes by Joes
tgs hee an Paul: Sty or the Commissioner
Genera of Fine Arte at the 1957 Exposition
Fama ia Cuba shogaay black w
flivbronee chan ia acquered wood,
‘Genet and Michon (ighing) Brome and
Menai (eepet and leah resherd by
Jesneelae
Bodromn in wales and pallens in
clllaborauon with Egat Brandt (ecsca
‘ling Gate), raeted by Jacque ag re
de Views Marche aus-Viy 193s: Ladys bedroom in lacquered wood git
‘ncwork, and mised pearwood fr
allaborston with Loui Ley gue Cis), Pale
Mance (abi), and Calon Baye snd Chases
ron gates) mareted by Jeanie
Gobrie, Rt
Sales Aries Doras
1919: Pated wallpaper: colour projets
1520: Ensemble for le gis bedeoor with
printed walpaper
ages: Dreaing soo and smal des in my
Pemeed wallpepe
span: Bedroom in fae and grey sycamore
sie
Eoeieccinsl aes
‘caecuted and marketed by Haviland & Ce
Sages
heey creases
Yj eeguerat cca
Sale Antomee
1919! Lille de Frances wallpaper
1929: Communal hal, marketed by Viacroze
Decoration
Caen, J
Salo de Arties Dé
Ghampevécnametware
sgag: Various objects
1936: Goupe in vered-meta and champevé enum
and in alvered-ore and chreplevé cone
CCofret a redenamel and git mee
(Get in gre fare! and al mea
1g91: Plagues, eup and bones in champeveenarel
93s: Enamel panel
Gong, Elon
toto: La Nuit aeqeered panel
1925: Stadio in Mote Cao cling a black
Inequered ted, dor and desks mahogany
armchair, seman carpets
vgaa: Capers and eure
3! retention of arte and char for hal
Photographs snd architectural models
‘wood with lacqueed ron to
iaegeced put F
Fa wit by whit, and
steps
1930! Prt ln, imenlaoration with M. J
Labourer (walpape)
sas: Bedroom pleat
1911: Bedeoom in plc
Dining rom in chery
Lia ingrey snd
Giese najueted seen, straw paper sree,
aminius table and bere iceood
teulprue by Zadhine
Stull lo Pchdng orsitre and wall
covering in saw paper, colaboaton with
Sal Atom
to2t: Modern furniture
{9101 Seren a Chines lager, decommed by On
Zathine J
1934: Chinese aequered panel, decorted by Ser
Fert (ba boulevard Saat Jacquc)
gat 2 earpes in Duron exhibit
030: Study in macasar ebony (pink, green, nd
‘hit, himoniows colour theme.
allabortion with Heats Brochard marketed
by Speich Freres (252 Faubourg Sunt Antone
Maquenes of onto, stadior md
taicresing slo
Pexographs of ining room, boom, and
perro wal pling ei amor
Green ecs; mashed by Spec eves
Enllsboration with Flexwond, Chicago oma
upholstered in peach velve: marked by
Spach Fre
Phoagrabs of: intesoe:« srado anda diniog
933: Stadio come including a seereary-bookesse in
‘Covered with yellow fabric, nd s hand-woven
eae
Mequctes ofa bedioo
Sete oak funiture, the char covered wit
studio, boudoir, nd
1919: Bedroom in syamore
matkeed by Speich Fees
sso: Bedroom in ranihed seamore, marketed by
Sonhue
192 Study in mahogany with marguetry, in
laboration eth Olescwicss ured by
"79
1924 Studi in collaboration with Olesiewice
pet) snd Thoma (puting
+926: Bining room in collaboration with Chassaing
oripe
Smoling room i collaboration with Bovine
Stadio marketed by Primavera
1927: Bolom i sycamore, markeved by Primavera
339: Metal cha, por nble
‘marketed by Primavers
Haliaeollaborstion with Hend Boulanger
(funiture), Calete Guten (erpets), and Alice
Polsterer(cereen: marketed by Brinavers
1gss: Ladys desk, meta chat and ookense
tmatkeed by Primavera
1928: Dining room in cherry,
ester (painings)
essing salon, marketed by Primave
Hall marketed by Primavers
Hewonbe; Kats
Sado des Arise Diceaters
i3pa:Jupance acer sree
19 Jee ear
tbletop in Japanese lacquer
1999: Sereen and abit in Japanese lacquer
31: Table in Japanese Incquer
Screen Japroese layer
vos: Table i Janes aequer
Seren i Japanese acquce
v934: Table Japanese heuer,
Seren Japanese asgace
Herb, Rent
Living oom in collaboration wth Madeleine
Vionnat, Tasimar and Chae (alls), and
Boudin erin), marted bythe Nude de
1924: Dining room for MRL Roubai, in
tellabortion with NI. Yung (oor lamp)
Shop age, interon and dress design by
Lanvin: marhered by Sty
1927: lamination forthe Compagnie des Lamps
Gonepagnes de Lancia Fraga ated
1928: Smoking room in steel, varnished wood, and
1921: Furniture for ai de ripe at the Musée de
Crilon in collaboration with Francis Pol
eallaper, and Tas nd Chae als
tsa: Office ener nah and mahogany
1924: Une Place Publique: bootque for Sigel
1926: Study i concrete with bar desk aches
ig Sigel inclihoron with a
Commpage des Eas (ightng La Boutique Ducharae, in collaboration with
Docharn als) and La Compagnie des
ames isbing
7 Magacin Seger, senior design in
callshortion with Vigne and Dé
928 Sead igh neta friar in coloration
sag: Offee with meta furniture, a collaboration
‘eth A Salomon lighting and Helene Hens
7) mahogany, chaise longue in ciomed ste,
Ccllaoration with Hane Henn (abs)
1933: Prsenstion of furniture in collaboention with
(Gai Csedc sod Bernd (pour)
Fuabssements Paul Bes (metal furatue), and
Eeimceents Kreg & 2awy (merle
furnishing, 4 2¥ente Rodin, under the
patronage of OT. U.A. (OMe Teehaiga pour
‘ieation del Acker
Ini, Ped
Sale der Artie Dai
Jal, Live Albert end Mere Raymond
Sale de Artes Dwanar
1916: Dining room in cued oak
Ser csTocqocse al enced by Ca
192 Bar with caved panel laid with ebony
Living rors in seecah and earphorwoed
seine
crllaboration with La Mason Coupe carpe),
(Coudyscr (windows), and Bone (printed
abo
9: Hedroor, bed sed table in cllaborstion with
Mine Chabert Dupont (edeover snd Pol
Ves Garey
‘ge4: Bedroom in palisander, in collaboration with
Nine Chief Dopot ind and bedcover
gab: Loe vag voom nrheaed ey Pee
{5iy: {Léon din oom i planer
192: fm powder room clang quer screen
fa tinned orl
Cilaboracon wth Free Sub rough on
Tatas (exec) and Teed Feet
(vert); rte by Grand Dep
s9ig: Powder roominchaings equered abe with
‘Sooo eg by Sas Requced oe
INegored commode! vrssed scar ay
se gchar able, paizandee seta
inegoeed panes carpet in poe rout and
Sienencth fee by Jems Detar ad
Racal chen
1gyet Lion) ris Mir wh ys ds
Src ggphlleo'able sad eu
on
wwevung-table with parchment top, armchai
{nda lege caine, collaboration with Suber
rough on
st: Waring room with sear ehony commode,
Ineguctelermchat sini eral sad gis
tal chairs leathcr and pen
‘llaboraton with Jenn Besnard ates), Rodier
(window shade) std Men Chasve (Gower)
9 odes pacientes
Sod ermal handles
Copbceod inl
‘andes
(Captoned with noqutedseulprse, large
‘wcought iron door one large ceramc var and
These by Jens Mayodon Gein
‘sborton with Durand (cabinetry), Meumse
‘Ea Rousnére (fabrics, Sule wroughe ron)
tnd Hagens (auton)
934 (Léon fe Maurce)dining room in oak with
Iaequered gold wal paneling, incallaborsion
‘with Labourer (foot te), Pez! lighting
Jean Lace (glsrware) Mme Chabert Dupont
ae), Jean Terad (aver) Mayodon
(ceramics) Sangousrd (ueaihing) L
KayaodGeulpted pater), Bented painting)
Raul (window shes) and Subes(wtought
Salon 0 Astor
Matton egy
CCommode painted woo
Macanar ebony able
gag: Furniture
Enverble
1930! Toulon
Lepiyacht
Janis, Gtr Lan
Foose re lon fhe Soc des
Fite Ese ont Gaoee
Be peer nestles aaa
Mesa Sa tinoes
Sl The Sane Rie Loan
‘
toy! Caren fora pasty depot te depeaie
be Aes nce eel by ceed
State to Phiadeiphn tbe executed by La
Manutteare des Gobelins
(Crtoons fora petty forthe Hotel Biron
Musee Rodi
Ceara ape. by Masia Georges Joules
Back ofan armchair, by Mare-GeorgasJatimes
Jentrt (Rent Pte (Pili)
1919: Powder room, i collaboration with Andee
Rivsod (door andl) daSilva Brakes
(capa) wd Moenagro Qa)
180
t92¢: Boudin collaboration with Ande R
(door hands, da iva Brute (eatpes), ad
Montagne acguce
gat: Wardedbe with eo eiroe
Dressing table sari pay maple, and
diveredboase ;
Carper in pow ne
Incallaborstoa with Pinchos
marketed by DIEM
Dining room swale eolabortion with
G: Mouvetu, marketed by DAM.
eg) Capea et etaewcenl al pall
Futur foe Rad
Lady's desk and armchair in white maple
Pano in oak foe Pleyel
Coptoned splenic by DIL.
(Copbonrd in Paeanderand walnut
Living room in paliander and wall
1ga9: Living room and dining soo
‘ft Bedegberia eller and yea
ier rom whan ception ie of
Visine wth
hse
1929: Bedroom, incding the cyt and silverware
resin table
Bodot fariare in Eecrophon Elecwon
Visine of objects in Veneta Lava gia,
mated by DIM.
te: Sudy in walnut and metal, chimney in polished
Boberman, ers cots by Vadimn Androwiow
tgs: Dining room and lady's beds
Sale Acoma
19191 Dining rooms
saa: Pee of furniture for a desing room in
fultander and stinwood, marictd by DAM.
125: resting ble and arnchatrin palsaner
‘fog: Delage and senchai in alee
feb:
1527: Carpet boutique, in collaboration with Ekman,
rmatkere by DAM
gt Ce shop in New York, in cllabration with
Marcel Boiss marketed by DAM.
pecs made of Venetian Lava
Jeera, Fret
Salm ds Artistes Dirsers
+919: ising room
1521: Dining room
1905 Dining fooe cok tnd iogany ected
Franc Jourdain
Sale € Antone
1919: Seadiotn collaboration with La Maton
Lipltre(xrpet)and Edouard Schenck
Study macas chon, in collaboration with
Vualrd(pancng
Country ning room
Dressing be
gna: Une Place Publique, Boutique # 2: Les
Editors Cres Ce
sgt7:Fogde for Heleon Rubin's Bont i Kinher, Rane
tty "Navire’ and Printemps arpets
{9ab: Screens composed of fand Teaver
et ofa Roe ball in collaboration with
By Les Ame
719" Jacques Mare lighting), maths
ays: Caper for F and G, Sader
t52t! Ladys redroor with pulitander wn lacquered
‘pour, ncllaboraton with Les Ams de
marketed by Cote
top, ebony table, macassar ebony sofa-bed, and
pies ee pie
ipl oe a eet aoe
marketed by Let Ae de France ost
sat: Transatlane cab, matketed By Les Ans de
Esce
Salm det Arties Dicer
926: Table with marble top; console with marble
Aipmionchnes, cones apn
Gate in wrought ion, 6 chairs in wood, lather,
and ira ia collaboration with Paul Price
Coto table, laste, sconces, and pte
‘wroaghivo, i olabontion ei Pal Feber
1926: Wrenghe ron ensemble
192: Moder study collaboration with Paul Feker
(gerwork), and Nile Landen (carpe
Kat, Ble J 1989
Salo der Aries Dice
19s: Ladys desk in collaboration with Pier and
Jeques Cardin engraving on gus)
Keblmon, Etim
Salo ds Artis Dicorators
19: Dining rom in mahogany and ok, n Salo
Collaboration with Mesin aculpre) marketed 1985
by Stadium Louvre
1926: Dining room ard desk in mahogany, in
collaboration with Léon Ley eulprare
‘marketed by Stam Lovere
Rodeos aayeae
borstion with
Mile Max Vier (carpets and curse)
Powe room in hmewood, in eallsoraton
with Suaanne Mazoyer carpets
Study in vacebed alee
Age Lads room in peatood and bal nb,
marketed by Sum Louvre
sag: Lady's apartment
Caller ncadng walls in black pon,
laboration wth Simone Godgute
taihed pearwood farmitor) Max Vibert
ricki mouldings)
Bedroom including sk wal, violet wood
‘nd metal furniur, anda eaipe in pot
lighting), Bals (plumbing) E.Thieery
marketed by Suadiam Louvee
4 Antonse
"Cendellon’bedoom in pearwocd with vory
snl ebony margucry; Le sty
tolerwood, but haya and ce
Collaboration with Dubay marked by
Seuvators
Hoey tesa in viewed end bad
thoy intel by Seat re
Ltnvigs opment ors Compe
Glen note
Row wich carpe by Na Viten
ting woe Saran ane
Hairee
Sener amy ret pte wade
courant Mat Oe al) sd Jean
‘Lévy (chandelier); marketed by Studium i
Gee
Lira and bd wont
Domtbars telecon ed guia
collaboration with Mate (chair
Dintng room n wane and bl walout
sg2g: Study nd emoking room inloding friar in
‘stinwood and black eguer,in collaboration
‘ith Simone Godguin cominode) Max Viber
cclprre); master by Sadia Lowvre
1930: Dining room, tmoking room and rnin
‘allaboraion wih Miss Goda (Carte)
Ma Vibert (exper) and: Schian
1951: Boudin bul ash and gitetal with gold
Furniture deri: enamelid stuns sheet iron
fmicren mai enrol by Brae in
eullabration sith Max Vier (metal animals
Miss 5. Godan amall table) and Suaanne
Mavoyer (window blinds) missed by
Seadiom Louvre
ss: Boudotr and winter garden i
ah Naz Vibert (ras)
Misia spersmenetncleding dining soom,
tect, til ord, te oak Reread
‘ith mea, in collaboration with Max Vibert
design); mathe by Studia Lowe
1934: Shit hale in Oregon pine ncadinga living
toom i callhonsticn wih Max Vibe
(abies) Holophane (ecomces), Giga (ous
Dining room i Oregon pine, chang «large
table conver ites beng ble
‘allabortion with, Jugend Helphane
lighting) "
tea ballin Oreg
1935: Child's bedroom with white lacquered furnirure
fda rubber for, incollaborston with Max
ire (ares)
Games room including able in Icgucred
cudort with painted wall, desk in leather and
ed metal a consol fs equerd and
rd shet scalar rca covered in
Sivan workable incollsboron with
Mai Vibert fabrics) and HolophaneGghting
pine, mache by
aba ( Piro Lard (Gor
Salo de Arties Daa
1 Enarnes bal
Palsnder chest of dower ini with emaboyea
aed ory
Gilrwood fame, i collaboration with
Fic erbely
cing tort in moked ca; incl
seth Malls (culpere)
‘Young gis devo
toss: Lacquered einer ad objects
15ia: Lady's desk n but walt snd lemonwood
smehairupboetred isk with wood sad
irory manguctry
$-fat eee in Conowandl lacquer
1329: Young g's bors fein a poy
1930: Sal og, nclading a redomet in Coeomandel
Ineguer «bud walnut and wate print cabin
and sofa upholitered in sdk elaborson
trth Genet and Michon(chandeber) and
1931: Seren in Coromandel lacquer
9 Screen in Coromandel acjuet
935: panel screen 1309: Comat ein collaboration wth Mausie
[Lace and Dhomee (ras and ceramics)
Louis Mace (eclpere), Dekombe (apes
amor Freres (arpets) nd God exbiety
ig2o: Lacquered cabinet
"Sar: Redfoom executed by Mme P. Lake; bed
Maison Frangots Tedesco .
gas: Bedroom at Bon Mare
rellppe
Biaing rom in soked oak and margucty
collaboration wih Mlle de Paygaodena
(window shade "La Corbeil) Suber
Chandler, Jan Lace (ablewate
Wood sree with aequer asd tapestry executed
by the National School of Aubusson
(Lived els) wimg poo ors ila he
dot), Gullemard (hatdessing salon
tude Lévy and Meyer and Tavarmer (cape
Thornes acd Sopot (drapes), and ine Sooge
1927: Chifenr in paliander and amboyna with vor
1928: Boudoir Coromandel noquet
Decorative ensemble and glassware
Doorn gas and chromed metal
hance, scones and bjees of
tgye: Room inejeamere edge
Glass ble and centrepiece
pas apie ees
Toro rrocscontuning gas objets
1920: Sl ing room
Chapel doors f=)
‘Diora of «contemporary town and plans for
oct tailings
ronographs of completed tidings
Standardved windows; marketed by Les
Manufscrres de Sai Gots
Phosogeaph of completed buildin
Sine Cobain un tes)
es Artes Dlr
Took indings sod dressing table, marketed by
Filing abner, noquer by Jen Dunas
Tab wih lacquered op
Gey and Miklos (sculpue)
Boot bindings
ar Arties Dire
(abimety) E. Leteser (hai), and
4: Bedroom in buel walnut, rosew
94: Dining roon in macasat chon
(copes
Gobet du Silva Bruns (arpets) nd La
Mason Corn abs
‘get: Copbourd in palsandes«archaiss
19491 Diting soon ia Cancaia burl wat in
éallsboration with Hamor rctes (pests fom
fartoons by}. Besumont
‘gs Livingroom with books and of in ebon
dates opboltered in leather
Dining foe with ble ntl wale; ia
A. Kav (athes) -
131: Livingroom including sts in sil and
Covered with apsty by A. Kast marketed
py Hames Estee do fe aruda, several
elaies oper i ll fow ctx Cinco
Jeequce boqierseeea; Ecoles wal da
Sica Brats (mpd
sgy2: Ensemble
1935: Living toom
‘3a Ladys bedroom and powder room, in
Dining oom including cupboud, crculat
table chairs andarmehascallsoration
‘ah da Ses Bruns (aspen, Bastard faare
Centmenton), and as aa (igheng)
‘Dining room including «cupboard, cons
9: Livingroom furniture
Libay including bo
nds cha
ining rom in burl walnut with
Sivered mounts, salout dining-hair
1: Bedroom n geld’ and macitar oy
including ed smal able, dressing able,
ui, end wileatcommod
1932: Desk and chai in plisander
19}s: Chars and desk for Dr Rowe! Hbeary
13)a: Large copbout fora dining room
Le
Aired (10 Mae binrepy
Arh Diersert
01 Puoninare enogubler Majonelle Rtzopecive
49: Bookeas and sedate in palisander
(Colne and secrete ia weraiabedjcaranda
18
one Eaierbic bi Reece icloings
livingroom, reading room, and bedroom:
mmarkeed by Remon and L’Ateher Mayorle
1935: Cupboutd in paltander and bul ash, i
ratio with Frederik Sune (culpture);
tmarketed by L’Atber Ni 3
927: Palisander hal, marketed by L’Ateler ajorelle
Salo Antone
toes: Maguete fora house for M.X, Paris
teat Marjste ese forthe owes of ciey
sas: Phoropraphs ad plans for 5 Ate
bouton Pere
sg: lt perdi for M. Waltber Guggenbu
Majo Laait al Pir
Salm der Aries Dice
25: Desngfooe,
Bokoot i collaboration with A Lévy
Lévy architecture), Jani (windows) 0d
Fennlnfnrpet
Retrospective
poo tyes Retwospectve: Orchides and
ape pay Cont eating eal
439: (Pere) ding room n bud wal snd walt,
Imarketed by {Atcher Major, Nan
Wiad tveceane abet Ba cing neat
‘Ghieware with wrought roa mounts
921; Dining tom ensemble in collaboration with A,
x6: Retrospective: desk and chai Aux Nénuphars
in mahogany and loceatwood (1920 Exposition)
Bullet it enanth ecioms ceony, on
Malet, Rober
1928: Pavilion for an exhibition
aibroom, macketed by Les Beablissements
Richard Lenoir
Salou Atoms
19301 Sal Fall forthe lm company Diam
decoration for cinema), elaboration with
{Chae Hess (decorative panes), Bogut
cenlpeue), ant Marie E =
1921: Sal hall ia collaboration with Fabre
frau), Bags ighning), Nepean
Fete (cabinetry, Lombart cus
Comin (prongs) and Leblne (lcci
fond defardin in cllaboraion with
Biagoct eclpene), Nepee end Ecce
(cadnet, LeBlanc (cee), Consneas
punting) and Hann elects pap)
Bickroom sconces, marketed by Le
Enublasements Ch Bane
Bookahop, in colaborstion with Dreyfus Sem
(decorative panel) gay: Maguete fora reveling depot fr steat
'934: Sted cabin fran ocea inc, tour as, in
collabortion wth Les Eablascmens Flbo
fanfare), Les Eeablinemens Pec
Tighe) aed elie Her: (abs
Mate, Maric
Sado ds Anise Dceraters
1924 Bathroom in collaboration with J-and J. Martel
(scalps), rurbeed by Seodioss Leute
126: Bedroom, in collaboration with ax Vibert
(panes) eaceted by Stediu Lawvre
‘gay: Ladys bedeooen with arte in wd chery
Langer dang soom ching chi Bo
ssh with ele incollaborston with Max
‘Vier (carpe, matted by La Mason Coupe)
Bruner Mevnic & Ce (abies), Thanet
(vookee, marketed by Sear Love)
frarketed by La Mawson Sader css Fie
sy28: Bowdorrin burl amboyns and pigsin
1929: Ladys Bedroom in bal wild cet chien
tee oh ec cies encteeed by Late
Sidaler ess Fs in collaborauon with Max
Vier (eampet marteed by La Matson Coupe
tnd Brunet Meunie& Ge (bac
Work yudy: Leo’ in vokewood and thaya
Bedesoon:"Cendellon in tad pear
wah ivory and ebony anger, at
Cillaboration with Dubay maeted by
Sead Loans
19a4: Halli collaboration with Mlle M. Bec
(engravings) marketed by Stadium Lorre
tab: Areitecare and decoration ofthe gallery of the
Sead Loorse
Fumiture i palisander, ebony and mother of
feat colbert a ble Vier
fper) and Léon Leytt (salpute
sey: An engetved gas coro abe, marketed by
spots aches iapeare
oye un ra
Louver
and velvet, guéron in
kered by Sadia,
193: Vase and engraved objects marketed by
Remand
1954: Paintings and vases in enamel-on-copper
|
I3a7: Vie wih copes object inlaid in precious
‘Objet in copper with enamel and sver
pplictons
918: ‘Reprane seen in embotsd and pnt
‘copper olad with aver sod gold
Peschani's coareled copper but
‘929: Copper door ina with iver and metals
190: Piece ofa furniture in palisnder, the doors
ieopper laid with slvr lead, peter and
old
19s: Wein ncading objects in prec
cemclencgres
‘De Algiers yea copper pent incrued
‘wah averand other metals fom a design by
W. Walleumser
syss: Vien including object in dnanderie and
coamchoocopre:
sya: Vitene cluding paicings and vase in enamel
o-copper
ssmeaisand
Montage, Pir Pan!
{921 Panel fora dining room
Tapestry canton and watercolour
moe it pulsandee and chony, marketed by
TeContoratle
1 Farieure marketed by Robert Sangosard for
snememble including + ble chat abe desk
‘enh armetaiand a carpet by Boul
984: Bedcoom in Aftcan lewtrween coral, and
aha
Palade? cupboard with carved edges,
‘marketed by Sangosrd
Dining oom, matted by Sangouard
> Cabinet palinande
Bourque for Daum
928; Cupboard and has
Rotunds fore drvwing room
1909: Seedy in collaboration wi da Sv Brain
(corel
190: Sul ula, a colaboration with ues
fvsough son), d Sirs Bras expe)
Manguese Lchuchercurtin), Pleyel (piano)
snared by Embbeectcnt Segond
gst Architecture and decoration of ibrar and
‘reading room, in elaboration with Mee
{Ghaber: Dupoot (urain, Sues minated
fan), G. Daniel (clpred plaster) H. Boned
cern), Genet and Micon (ugheing
Erablasemens Border (illuminated vases),
Cornice Gi (abies), sod Sungoutnd (ables)
914: Ensemble wth fumiar and eapstin
Tuborato with Pere lighting), Subes
‘ronwork) and Albert Guenot eclpture
Bacchantect Eafane :
ot are Nyro’ pati
920: Ensemble cluding dining room and +
021: Ensemble including 2 bookcase, hair, able
‘cupboard, and micor
ig: Furicre ensemble including atpestry by
"ele Nationale d'Art Decorantd Auburn
Dining mom frmture manuactred oe re
‘marketed by Robert Sangourd, (1¥6:enie
des Bangles, Sut Oxer
gas: Games-tbe a oak with carved che exeeued
by Sangouaed|
Ce cai marketed by Marceau
Bookease nd # chairs in jcaand, marketed by
Robert Sangossrd
tg26: Library, induding ade, bookcase, and filing
cabinet
1927: Boudose, in callaborton wth Bastard, Daum,
ds Slva Brak nd Suber
to2t: Smeking room, marketed by Robert Sangowaed
1931: Bedroom in sycamore tn colaboeation with A
Margoc (cuptu), Dematcq Topi
cepa, Coralie x Ge) Perel ightang) the
furmiire marketed by Rober Sango
183
Moree, Jo Charles
124 Ht peti
9M. X, Sant Germaine
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