Hans Vollmer, Luminator, Claudius Linossier and Mariano Fortuny currently on display.
#hansvollmer #pragrudniker #luminatorfrancais #claudiuslinossier #marianofortuny
French, Patinated Brass Torchiere, c. 1935. Somewhat reminiscent of Giacometti’s sculptural, elongated forms, this floor lamp straddles the line between modernist austerity and a more classical, perhaps even gothic or medieval, sensibility.
Henri-Edouard Navarre (1885–1965) glassworks reflect a bolder, more organic direction taken by French glassmakers towards the late 1920s. Navarre, who was a teacher to André Thuret and contemporary of Maurice Marinot, balanced weight and lightness: the substantial, biomorphic bodies of his works are softened by the miraculous way light passes through (and reflects off of) them. Executed in thick, clear glass with elemental inclusions resulting in a palette of smoky olives, milky whites, and dark charcoals, Navarre’s work captures the fluidity of glass and light in small but monumental objects. The period images in this post were taken by Thérèse Bonney, while the contemporary photos show a Navarre vase available at Formative Modern. #henrinavarre #mauricemarinot #andrethuret
Claudius Linossier, Patinated Metal Vase, 1953.
-
A hand-raised copper vase finished with a richly variegated patina and silver rim. This vase is animated by Linossier’s characteristic surface treatment, achieved through patination followed by a “jaspé”process, in which controlled oxidation and heat are used to work the metal’s surface. The resulting finish reveals subtle flecks and tonal variations: rust red, silver, brown, gold, and occasional green — all recalling the mineral patterning of jasper. Executed in 1953, the last year of Linossier’s life, it represents the final chapter of his style. Signed “Linossier 1953.” #linossier #dinanderie
Francis Jourdain, Six Dining Chairs, c. 1920
This set of dining chairs show Francis Jourdain’s pursuit of simplicity, functionality, and structural clarity—the principles that defined his contribution to early modern design. The fenestrated, open grid work backs demonstrate Jourdain’s affinity for rational geometry and honest expression of form. Executed in richly chatoyant mahogany and rosewood, each chair is expertly constructed with visible attention to joinery. Out of Jourdain’s philosophy that “one can furnish a room luxuriously by unfurnishing it,” this design bolsters his belief in the aesthetic power of restraint. The seats have been reupholstered in a brown and black woven horsehair textile, that is naturally stain repellent.
Pair of Egyptian Revival Chairs attributed to Liberty & Co, c. 1915. From the early nineteenth century an interest in exotic Egyptian art and design had been ongoing, ignited by the exploratory expeditions and archaeological digs that had an influence on the greater culture in Europe. These chairs manifest that interest with their thoughtful blend of British Arts & Crafts and Egyptian motifs. Featuring newly hand-woven cane seats and custom, thin leather cushions in an ochre leather.
