Jean Goulden

Barry Friedman, Ltd., New York
Sotheby's New York, November 19, 1992, lot 165
Private Collection, New York
Sotheby's New York, June 17, 2004, lot 56
Acquired from the above by the present owner

Dunand Goulden Jouve Schmied, Galerie Georges Petit, Paris, December 10, 1930-January 6, 1931

Jacques Baschet, "Intérieurs Modernes," L'Illustration, May 27, 1933, p. 31 
Bernard Goulden, Jean Goulden, Paris, 1989, p. 91

Overall in very good condition. The centerpiece shows very minor wear with a few scattered small and light surface scratches, a few minute edge dents, a few occasional areas of pitting and minor surface dirt to the recessed portions of the design from gentle use and handling. The candle cups in particular show surface residue to the interior, likely from use. The enamelwork is executed in a brilliant chartreuse green hue heightened with minute speckling of turquoise which imparts these areas with even greater visual nuance. One of the arms of the candelabrum with an old restoration where the arm meets the central element. There is a plate that was attached to secure the area which has been recently stabilized by a leading metal work conservator. The lacquer work at the terminal of the arm, adjacent the plate is slightly irregular as a result which is only visible on close inspection. Another arm is slightly loose. The underside of the piece with a few replaced screws. The central jardinière element is fitted with a metal screen for floral arrangements, which is possibly later and shows a slightly more yellow patination. The top edges of the jardinière elements with scattered edge nicks and a few minute and light surface scratches. A striking modernist sculptural form when viewed in person heightened by the bold chartreuse green hue of the enamelwork.
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.

Jean Goulden traveled to Macedonia as a military doctor during the first World War.  There he discovered Byzantine art and was deeply influenced by the beauty of Byzantine enamelwork.  Upon returning to Paris, he settled in a workshop in Montparnasse next door to Lambert-Rucki where he painted and developed his own unique aesthetic in enamel.  He became close friends with Jean Dunand and Jean Louis Schmied with whom he realized a few exceptional collaborative pieces of furniture and book bindings.  From 1921, Galerie Georges Petit held a number of highly successful exhibitions of the works by Dunand, Jouve, Schmied and Goulden.

Working in enamel allowed Goulden to develop his artistic singularity and revealed his passion for technical research. His rare enameled pieces are emblematic of the bold colors and geometric forms that dominated the new Art Deco aesthetics of the period.  The present lot, exhibited at the Galerie Georges Petit in 1931, is an exceptional example of Goulden’s talent to combine an ancient technique with a thoroughly modern form.