Louis Majorelle

Maîtres Albinet et Néret-Minet, Paris, June 21, 1978
Jean-Claude Brugnot, Paris
Acquired from the above by the present owner, circa 1983-1984

Exposition Universelle, Paris, 1900

Théodore Lambert, Meubles de Style Moderne : Exposition Universelle à Paris de 1900, Paris, 1900, pl. 1, cat. 2 (for one side table illustrated)
G. M. Jacques, "Le Meuble Français à l'Exposition," L'Art Décoratif, July 1900, p. 144 (for one side table illustrated) Gustave Soulier, "L'Ameublement à l'Exposition," Art et Décoration, July-December 1900, p. 38 (for one side table illustrated) 
Exposition Universelle Internationale de 1900 à Paris, Rapports du Jury International, Groupe XII, Paris, 1902, p. 126 (for a description of the bedroom suite by Pol Neveux) 
Marie-Christine Delacroix, "Le Mobilier Majorelle," L'Estampille, September 1978, p. 18 (for the present lot illustrated)
Alastair Duncan, Fin de Siècle Masterpieces from the Silverman Collection, New York, 1989, p. 95, cat. no. 48 (for the present lot illustrated)
Alastair Duncan, The Paris Salons 1895-1914, Volume III: Furniture, Suffolk, United Kingdom, 1996, pp. 380 (for one side table illustrated)
Alastair Duncan, Louis Majorelle: Master of Art Nouveau Design, London, 1991, pl. 69 (for the present lot illustrated)
Roselyne Bouvier, Majorelle: Une Aventure Moderne, Paris, 1991, p. 164

Overall in good condition. The various woods present with beautiful contrasts with color varying from sienna to dark brown. The wooden surfaces with minor surface scratches, edge abrasions and some discoloration and minor sun fading consistent with age and gentle use. The wood with some very light crazing consistent with the natural aging and drying of the wood. A few very minor restorations concentrated to the edges of the tables and only visible upon close inspection. The Macassar ebony tops with some minor surface scratches, traces of wear and a few areas of discoloration consistent with use. The Macassar ebony veneer presents with some minor restoration, minor crazing and lifting to the veneer consistent with age and use. The marquetry is masterfully executed, with minor traces of dryness to the wood, consistent with natural aging and a few minor and sensitively undertaken restorations within the decorative motifs, not at all visually distracting. The marquetry of one table with minor lifting to the doors, the proper left side of the proper left door of the same table with a minor loss to the marquetry, adjacent to the upper petal of the orchid and not at all visually distracting. The marquetry is enhanced by inlays of mother-of-pearl and copper adding the detailing of the orchids and imparting the marquetry with dynamism and luminosity. The copper inlays with a few minor discolorations and minor lifting, concentrated near the key holes and to the proper left edge of the proper right door of one table. The doors open to reveal a single compartment lined with white-grey marble, likely original. Each table with two original integrated keys, their vegetal form and orchid decoration beautifully complementing the tables. The keys with wear to the patina and minor surface dirt to the recessed areas. These two side tables present with great scale and superb carving, the geometric decoration of the back panel contrasting beautifully with the natural figuring of the Macassar ebony and more naturalistic motifs of the doors. -----
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.

“All of us are temporary custodians of the art we love – works that existed long before we were born and that are destined to survive long after us,” wrote Benedict Silverman in the introduction of Fin de Siècle Masterpieces from the Silverman Collection, describing how he fell in love with French Art Nouveau and spent years building one of the most legendary Art Nouveau collections. Created for the 1900 Paris Exposition Universelle, this “Aux Orchidées” bedroom suite is a testimony of Majorelle’s wonderful inventiveness and technical mastery. Majorelle’s sensitivity to nature, which he called his “admirable collaborator,” and his familiarity with historical forms would lead to this fascinating ensemble. Sculpted like plant stems, the curved lines of each piece look like they spring out from the ground, harmoniously complemented by the nuanced and virtuoso marquetry. The orchids, an Art Nouveau symbol for nature’s mystery of fertility, are present in the floral silhouettes, the poetic marquetry of the dressing table and decorative motif of the armoire and dressing table. Celebrated in 1900 as “the highest degree of perfection in combining force and sensitivity”, this bedroom suite strikes us today as an extraordinary symbol of Majorelle’s talent to create a world inspired by the Symbolist poets as much as by a close observation of nature. Majorele’s spiritedly animated works offer a very compelling parallel with V. Epeaux Apple Blossoms dining suite, that was awarded the “Medaille d’Argent” at the 1900 Paris Exposition Universelle.