Marcel Coard

Private Collection, France
Christie's New York, June 13, 2006, lot 57
Acquired from the above by the present owner

"Le Studio de Jacques Doucet," L'Illustration, May 1930, p. 14 (for related works designed by Coard for the interior of collector Jacques Doucet in the 1930s)
J. Gallotti, "Marcel Coard," Art et Décoration, September 1932, pp. 277-288 (for a discussion of Coard's work)
Alastair Duncan, Art Deco Complete, London, 2009, p. 353 (for the present lot illustrated)
Amélie Marcilhac, Marcel Coard Décorateur, Paris, 2012, pp. 154-155 (for the present lot illustrated)

Overall excellent condition. The surfaces of this side table are extraordinary in the detailing and execution. The eggshell lacquer which covers the piece is in excellent condition with no losses or lifting. The eggshell has been executed to perfection, with great depth in color showing deep contrasts between the white eggshell, black lacquer and hues of brown. Please see the detail photograph in the print catalogue or sothebys.com for a close-up photograph of the eggshell decoration. With minor oxidation to the sabot and chromium plated ball elements under the top of the table and to the foot. A rare opportunity to acquire a masterwork by Coard in truly exceptional condition and displaying the pinnacle of the artist's design and execution.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Gracefully streamlined legs, delicate compositional details and, most notably, the all-over eggshell treatment seen in the present lot make this masterwork by Marcel Coard not only a showpiece item, but also a technical tour de force. Restored to fashion by Jean Dunand, eggshell inlay is an extremely delicate process, in which the eggshell must be gently cleaned then carefully crushed and sifted. The tiny particles are then assembled on a layer of lacquer, forming a subtle mosaic, before being covered with a new layer of lacquer. For this table, Coard used a dark lacquer, reminiscent of the color of eggshell. The elevated top supported by silvered metal balls lends a feeling of airiness to the table that is heightened by the repeated use of the ball ornament at the bottom of each leg. This design is characteristic of Coard’s work from the early 1930s: sophisticated technique is taken to the extreme and is enhanced by the lightness of the form.

From the beginning of his career, Coard’s refined designs attracted the attention of the famed collector and fashion designer Jacques Doucet. From 1928 onwards, Coard created exceptional pieces of furniture with pure forms and rich materials for Doucet’s apartments where they were displayed alongside extraordinary works of art and design by Eileen Gray, Pierre Legrain, Henri Matisse, Amedeo Modigliani and Pablo Picasso.

Thanks to Doucet, Coard entered the world of great Art Deco designers of the time. He was introduced to African and Cubist Art that would become major inspiration for his later work. He developed his own design business and worked for private commissioners such as the stockbroker Paul Cocteau, the jewelry designer Suzanne Belperron and for French Mobilier National. For each commission, Coard created tailored interiors that were defined by a sense of luxury, preciousness and modernity.

Coard developed a unique personal style, interpreting the influences of his contemporaries into his own designs. His first creations were imbued with African and Byzantine references. Inspired by the 1928 modernist movement, he began working with lighter forms, always taking a thoughtful approach to the choice of rare materials and execution.  The present lot stands as a perfect instance of such an evolution: a refined design aesthetic incorporating original materials. Coard’s combination of exquisite technique and pure lines epitomized his rare creations and made it an exceptional piece for an avant-garde interior.