Alexandre Noll

together with a sketch of the present lot

Private Collection, France
Jacques Lacoste, Paris
Galerie Patrick Seguin, Paris
DeLorenzo 1950, New York, 2005

Image de France, La Revue des Métiers d'Art, July 1943, p. 6
Roberto Aloi, L'Arredamento Moderno 1945, Terza Serie,  Milan, 1945, n.p.
Olivier Jean-Elie and Pierre Passebon, Alexandre Noll, Paris, 1999, p. 27 (for realted examples)

Very good overall condition. This work with extraordinary sculptural presence when viewed in person. The wooden surfaces with some surface scratches, minor abrasions and light discolorations consistent with age and gentle use. Light surface dirt to the recessed areas. With a few light seam separations. There are a few areas of old restorations concentrated to the minor seam separations along the foot of the cabinet. The front proper right edge with an area of infill measuring approximately 1 inch in length which is mostly obstructed by the top portion of the case when viewed in person. The top portion of the case presents with light surface fading, consistent with light sun exposure. There are a few light edge nicks and surface scratches to the edge of the cabinet, immediately below the two front doors, from use. The base plate to the reverse with some very minor evidence of warping and some minor seam separations. The back is executed using a non-sculptural panel, demonstrating the intention of the design for use against the wall. The base of the cabinet appears in the catalogue illustration to be slightly lighter in tone which is not the case when viewed in person. The doors have the same color as the rest of the cabinet. The interior is fitted with one fixed shelf. An impressive and sculptural cabinet, with extraordinary presence and wonderful scale.
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.

Nothing seemed to predestine Alexandre Noll to art. Born in Alsace, in the East of France, in 1890, he started working as a bank employee. However, during the First World War, he was sent to Salonique, where he discovered wood engraving. Back in Paris, he decided to develop this technique, which was rapidly taken over by sculpture. Besides the umbrella handles he made for the Bon Marché, he was working on his own decorative objects and sculptures that were exhibited at Paris Salons from 1921 to 1942. His first pieces of furniture are presented in 1943, at the Compagnie des Arts Français.

Noll used wood as his only media and mean of expression, using it for his elementary power and discovering all its virtues, charms, beauties and reactions, through his sculpted works and experimentations. He used to say: “I don’t kill the wood, I obey it”.  Following the nature and nuances of the exotic or rustic wood, each of his works was directly inspired by nature, authentic and unique. He treated wood with passion and respect and refused to “inflict the eternal wound of iron”: his pieces of furniture were made without any hinge or nail and convey an impression of primitive force and timeless beauty. Noll’s organic forms blur the line between sculpture and furniture.

Through his instinctive approach, Noll created a new language, made of abstract forms, solid volumes and powerfully rounded shapes, looking for answers in the wood “that seemed to contain some lost secret for him.”