Georg Hulbe

armchair in carved oak and embossed leather

Collection Jacques Grange, Paris

Lucien Magne, "Le Mobilier Moderne à l'Exposition Universelle de 1900, Sections étrangères", Revue des Arts décoratifs, January 1901, p. 87
Victor Champier, Les industries d'art à l'Exposition Universelle de 1900, Paris, 1902, pp. 100-101
R. David Benn, "Furniture and Woodwork at the Paris exhibition", The Art Journal, The Paris Exhibition 1900, 1901, p. 132
Sept ans de réflexion, Dernières acquisitions du Musée d'Orsay, catalogue d'exposition, Musée d'Orsay, Paris, November 18, 2014 – February 22, 2014, p. 140
Sophie Mouquin, Cuir de Russie, mémoire du tan, Paris, 2017, pp. 82-83

EN : Fair overall condition consistent with age and use. The wood with some scratches and dents scattered and a few small chips of wood on the edges. Scattered light discoloration of the wood. The leather is in condition of use, the seat is worn and the armrests are very worn : with scratches, scuffs, cracks, surface lacks of leather and discoloration. Two tears with lacks of leather on the tip of one armrest (partially visible on the catalogue illustration). The leather on the back is in overall fair condition with a large darker stain consistent with use (and visible on the catalogue illustration). //// FR : Assez bon état général, cohérent avec l'âge et l'utilisation. Le bois présente des rayures et des enfoncements épars ainsi que de petits éclats de bois sur les arêtes. Légère décoloration du bois, éparse. Le cuir est en état d'usage, l'assise est usée et les accoudoirs sont très usés : avec des rayures, des égratignures, des fissures, des manques de cuir en surface et des décolorations. Deux déchirures sur l'avant de l'un des accoudoirs (partiellement visible sur l'illustration du catalogue). Le cuir du dossier est en plutôt bon état général avec une grande marque plus sombre cohérente avec l'utilisation (et visible sur l'illustration du catalogue).
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This model, formerly attributed to Louis Comfort Tiffany, is a creation by Georg Hulbe. A German artist specialized in leather and binding, Georg Hulbe presented this model at the Universal Exhibition in Paris in 1900. Several copies of this chair are known: two are covered with leather: the offered lot, identical to the one exhibited in 1900, and an armchair kept at the Musée d’Orsay (accession number OAO 1817). The other known examples are upholstered in Tiffany’s plant patterned fabric. Another model of the chair, with a few variations in sculpted form, furnishes the library of the Havemeyer family in New York decorated by Tiffany. It is possible that Tiffany distributed Hulbe’s creations in the United States, once having discovered his work through the intermediary of Siegfried Bing that he knew well, as the latter represented the American glass-maker in Europe.

We would like to thank Mr Yves Badetz for his assistance with the cataloguing of this lot.