Art Deco, part 9

Hello. In this session, I'm going to begin an exploration of Art Deco furniture, and it is the French who are very much in the lead. The term Ensemblée appeared in France in 1911. The English equivalent, interior decorator, is coined around the same time, first of all in the USA, but soon in use in Britain as well. And robust angular furniture was appearing in Paris in the early years of the 20th century. Modern designs, but skills rooted in traditional French cabinetry. Like this metal and mahogany desk, and the linen chest at the rear, which is in sycamore. And this chest of drawers in rosewood with an ivory inlay. And this circular desk and bookcase in wrought iron and mahogany. Typically, they're one-off pieces specially commissioned by rich clients. They are expensive. Much more showy than, say, the arts and crafts furniture which preceded it. A lot of use made of exotic tropical woods. Ebony, mahogany, amboina, palisanda, jacaranda. Jacaranda, one of the so-called rosewoods because of the perfume it gives off when it's cut. Ebony at the time was becoming scarce, so primarily used for veneers and for inlays. And inlays were used to give furniture contrast and accents. Common inlays of the period, chagrin to sharkskin, leather, ivory, tortoiseshell and horn. And lacquer, rich lacquer finishes were also popular. And to complement the luxury end of the range, products in newly available materials were more affordable. Materials such as chrome, bakelite, formica and plywood. And advancing technology allowed mass production to produce more affordable items. We also have changes in lifestyle, so we have new furniture appearing like cocktail cabinets and radios. Now if we take a look at some of the individual designers, among the most influential we have Jacques-Emile Ruhlmann. He had his own pavilion at that 1925 Paris exposition that we've mentioned so many times. So influential in establishing Art Deco. Simple, elegant designs that were given a sumptuous finish. This cabinet is in macasa with ebony, amaranth and ivory ditto. This is his sunbed. A writing table in mahogany with ebony veneer and a tooled leather top. And a pair of cabinets in his typical style. Charlotte Perriand was born in Paris and in the 1920s began a collaboration with the modernist architect Le Corbusier. And she adopted his clinical approach. Furniture paired down to essentials. This swivel chair in chromed tubeless steel is a good example. And then we have this chaise longue. Eugene Prince, also born in Paris, was the son of a cabinet maker. Inspired by that 1925 exhibition, developed a very personal style of Art Deco. He mixes arches with perpendicular lines. A lot of contrast of dark wood with bright metal fittings and mounts. This desk by Prince is in palmwood and brass. This one is also palmwood. This time with wrought iron. Another Parisian architect and interior designer Robert Mallet-Stevens was involved in several projects at the 1925 exhibition. Again makes use of tubeless steel for chairs. And mixes wood and metal for office furniture. Paul Dupre-Lafont, born in Marseille, did numerous commissions for wealthy clients. Unique pieces, functional but characterized by clean lines. Very solid, powerful pieces. Paul Theodore Frankel was born in Vienna. Studied architecture, switched to engineering, moved to America. He established the Frankel Galleries in Manhattan. And made his name with a line of skyscraper inspired furniture. Which he introduced in 1926. Straight lines and stepped contours, mimicking the new architecture of the age. Donald Deskey, American, born in Minnesota. Visited the 1925 Paris exhibition. And afterwards switched from architecture to pursue industrial design. And set up his own business in partnership with Philip Vollmer in New York. He designed painted screens for window displays for stores like Saks on Fifth Avenue. And some private commissions. This three-panel screen shows Lysistrata. Lacquered wood and chrome, designed for a New York apartment. This three-panel screen was for a house on Long Beach. But following the Wall Street crash in 1929. That depression era of the 1930s. Donald Deskey focused on designs for mass production. And produced designs for a wide range of furniture. There's something like 400 designs that went into production in the first half of the 1930s. Also designed textiles and rugs as well as furniture. And were produced by companies like the Widdicombe Furniture Company. And the Ypsilanti Reed Furniture Company. In 1932, he won a competition to design the interiors for the Radio City Music Hall. This is his best known work. The project included designs for the lobbies, smoking rooms, lounges, foyers, even the toilets. And he gathered a team of top craftspeople around him for this particular project. But there was an apartment at the top of the building. Which was created by Deskey himself for Roxy Rothfell. The walls panelled in cherry wood. Light fixtures in brushed aluminium and black Bakelite. A settee and a club chair for the apartment. And a desk. And then turned his hand to graphic design. And Donald Deskey Associates, still in business in Cincinnati. But in those early days, designed the Crest toothpaste packaging. And what became the famous Tide Bullseye. Now I'm going to stay with furniture next time. With a look at two outstanding women designers. If you've enjoyed this video, hit the like and subscribe buttons. And click on the notification bell to be informed when the next video is available. Or you can subscribe by clicking on the rose window over my shoulder.