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

George Donaldson, "The Victoria and Albert Museum, Gift of "New Art" Furniture for Circulation," The Magazine of Art, 1901, p. 467 (for the armchair in the collection of the Victoria & Albert Museum, London)
G. M. Jacques, "Le Meuble Français à l'Exposition," L'Art Décoratif, July 1900, pp. 144-145
Théodore Lambert, Meubles de Style Moderne: Exposition Universelle à Paris de 1900, Paris, 1900, pl. 1, cat. 4 and pl. 2, cat. 1, 2 and 3
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. 94, cat. no. 48 (for the armchair and one chair of the present lot illustrated)
Alastair Duncan, The Paris Salons 1895-1914, Volume III: Furniture, Suffolk, United Kingdom, 1996, p. 381 and 391
Alastair Duncan, Louis Majorelle: Master of Art Nouveau Design, London, 1991, p. 107
Roselyne Bouvier, Majorelle: Une Aventure Moderne, Paris, 1991, p. 164

Overall in good condition. When viewed in person, the color of the wood is slightly lighter than in the catalogue illustration. The wood surfaces have been sensitively refinished and present with minor surface scratches, minor edge abrasions, a few minor worm holes and minor surface soiling consistent with age and gentle use. With some traces of old dark varnish to crevaces, visible in the catalogue illustration and visible flaking to the present varnish. The lower portions of the legs with expected concentrated scratches and abrasions visible in the catalogue restoration. The armchair with an old restoration to the proper left front corner and one of the chairs with a restoration to the proper right back leg, the other chair with a restoration to the upper decoration at the proper left, all restorations are sturdy, not at all visually distractive and which do not affect the stability of the chairs. One of the chairs with a larger worm hole to the proper left edge of the seat, not visually distractive. Minor separation to the seams of the construction, which don’t affect the stability of the pieces. The pieces have been recently reupholstered and the upholstery is very good condition. A wonderful set that epitomizes Majorelle dynamic and nature inspired designs. -----
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.

The original suite realized by Majorelle for the 1900 Exposition Universelle comprised the bed, the pair of bedside tables, a dressing table, the chest of drawers, the armoire, an armchair and chairs. The armchair from the 1900 Exposition (same model as the present lot) was acquired in 1900 by George Donaldson for the Victoria & Albert Museum (Museum number 2001-1900).