Alexandre Noll

carved solid mahogany

Alexandre Noll, Paris
Estate of the Artist
With Galerie Jacques Lacoste, Paris
Current vendor

 

O. Jean-Elie and P. Passebon, Alexandre Noll, Paris, 1999

A striking and stylish piece of good overall appearance. Slightly darker in colour than suggested by catalogue illustration. Minor old marks, blemishes to patina and scratches in places, consistent with age and use. A rectangular area of patina has been removed to top (c.6cm by 3cm) where a sticker or similar has been taken off, visible back left in illustration. Top with a few natural fissures to the graining, as visible in illustration. Some wear to tops of feet and some minor cracking to timber consistent with age. Of good structural condition. A rare piece, ready for display.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This table is shown in a room setting at the Exposition Compagnie des Arts Français, 1947. (Jean-Elie, op cit., p.50). The current lot is illustrated on page 51. 

In 1935 at the age of 45, after many years working for other firms and designers, Noll produced his first sculpted tray out of a block of rosewood. His 'furniture-sculpture' was first shown at the 1939 Salon d'Artistes-Décorateurs and then at the 1940 Milan triennial.

Noll "obeys the cult of wood. His furniture takes us back to prehistoric times. It is massive and heavy, made of tree trunks and true to this origin...It displays a new mysticism with regard to nature, which in certain cases comes close to idolatry. It is primitive, not so much because of its style but in terms of its conception and creation. Most of his pieces are not assembled. They are monoliths treated like sculptures."
Waldemar-George (Jean-Elie, p.22)