By contributing editor Paul Paradis, Art Historian, Specialist Consultant in French Furniture and Decorative Arts
CHROME AND GLASS WITH A SPLASH OF INTELLECTUAL ELITISM AT CHRISTIE'S , Part 2
Continued from Monday, April 11th.
Fritz Lang's Metropolis Cover via Amazon
THE EXHIBIT ALSO highlighted another critical aspect of the new aesthetic , the importance of electricity and hence lighting, on the creations of the time. Since the harnessing of electricity in the late 19th century, the thematic signage explained, architects and designers were fascinated by the use of light and its impact on space. Starting in the Art Nouveau style (c.1900) light was enclosed into organic forms and muted within, but the bolder more modern vision of creators within Art Deco and the UAM movement sought to underline the source of light itself (the bulb) as well as the function of each part of the unit. The impact of Fritz Lang’s classic film Metropolis (1927) with its new use of light to create contrasting moods and atmospheres was enormous on architects and creators of the day. An entire wing of the expo space was created around some very unusual light fixtures and I was mesmerized by their bold celebration of metal, glass and bright bulbs. Contrasting visions of different creators were displayed within a central black structure, allowing each piece to speak for itself.
Ceiling fixture by Francis Jourdain (c.1923)
Ceiling fixture by Jacques Adnet (c.1930)
The Adnet suspension would make €133 000 and the Jourdain €44 200. I couldn’t help but wonder where one could find replacement bulbs?
In another oblong room (featuring a film about the collection projected along the back wall) little desk lamps from different creators of the UAM were lined up on two long black bases. The white walls of the room bore printed quotes from members of the UAM such as “It is necessary to cease the divorce between an objet d’art and the ordinary object”. The little lamps revealed different approaches to light, some harmonious and cube-like, and others violently metallic and open, with titles like “exploded sphere”.
Display of desk lamps by UAM members
My overall impression was that this collection required some intellectual lifting in order to understand and appreciate it. The one regrettable thing about the set-up was that only lot numbers were displayed instead of the usual lot cards with the descriptions. This was unfortunate for those without access to the catalogue or the background to appreciate the rarity and the thought behind the collection. It was visually dazzling yet I wondered whether the random onlooker would grasp the point. The occasional thematic signage did provide some orientation, and in some cases information on specific creators of the movement (for example Francis Jourdain, René Herbst), but the exceptional documentation and work found in the catalogues was not readily accessible within the exhibit space. Judging from the numbers, 17 000 visitors over four days, these drawbacks did not seem to matter.
In writing this article I came to realize that the reason why the movements of the early 20th century are hard to grasp is that they were so diverse. There is no one way to describe the various currents which were at times simultaneous. A representative of the Christie’s Art deco department mentioned that the streams were all rapid and that technology, such as electricity and rail transport, determined the direction that certain creators would take. The lighting was a good example. A futurist sculpture by the Martel brothers depicting a chromed speeding train, a unique piece created for the Exposition Coloniale of 1931, was another. The unusual sculpture would later fetch a €200 000 hammer price.
Locomotive En Marche , Jan and Joel Martel
To my chagrin, it is not possible to pay homage to every fascinating creator and piece from this diverse collection. I refer the reader to the beautifully illustrated and researched catalogues which are available individually from each thematic session, or in a boxed set at Christie’s Paris.
The Proof Is in The Pudding
The first night of the auction the tension was palpable in the air. Christie’s had taken a calculated risk in presenting a collection with a large portion devoted to the UAM, not the fair of the average Art Deco enthusiast. The first evening session was devoted to “Masterpieces of the 20th Century”, the lynchpin works from all of the various movements represented. I was a tad worried to find the room quite empty when I arrived 30 minutes early, but realized that my apprehension was unfounded as by the 6:00 pm starting time, there was scarcely a place even to stand in the back of the narrow room. I counted some thirty Christie’s people sitting at the phones in long rows flanking both sides of the room to take bids. The evening was clearly going to heat up.
Christie’s France Chairman François de Ricqlès auctioning the mythical Réligieuse SN31 lamp by Pierre Chareau at the second evening session, € 490 000
The bidding began and within fifteen minutes, the million dollar mark was surpassed when the mythical Bureau Tardieu reached € 2 million hammer price. By none other than Emile-Jacques Ruhlmann, the imposing piece, primarily in black lacquer, glass and chrome, was created to “wow” the future Maharaja of Indore (former principality now located in the state of Madhya Pradesh, India), who was in Europe seeking new architects and creators to undertake his home Palace. The desk was displayed in Paris expressly for the young Prince in 1929 who then ordered a version in Macassar ebony for his palace. This specific desk was later purchased by statesman and President of the Union des Artistes Décorateurs (UAD) of the time André Tardieu.
Bureau Tardieu, Emile-Jacques Ruhlmann, 1929
Despite the disappointment when the lot bearing the highest estimate of €3-5 million failed to sell (a luxurious games table in eggshell lacquer by Jean Dunand, lot 23), the evening continued at a swift rhythm and totaled €22 million, with seven other works selling over € 1 million. An extremely rare set of lacquered (various techniques) wood panels also by Dunand, depicting a cubist vision of palm trees, reached €2 193 000 despite their classification as a national treasure. The latter prevents their exportation outside France, perhaps not such a bad thing. They were created for Colette Aboucaya, daughter of a wealthy car maker in 1936.
Exquisite lacquered panels Les Palmiers by Jean Dunand, 1936
The session devoted specifically to the UAM on the last evening performed exceptionally well, raking in €6.2 million and selling 90% of the lots. The room was packed and renowned art deco dealers and specialists like Robert Vallois, Jean-Marcel Camard as well as American specialists. Impressive bidding wars took place around several lots and the French State pre-empted (reserved the right to purchase the piece after adjudication) a simple metal chair by our old friend Eileen Gray, which reached €84 000 hammer price. Word had it that one bidder in the room was purchasing a large part of the lighting on behalf of a luxury hotel in Paris.
Christie’s employees busy at the phones
Other sessions devoted to drawings and documentation around the UAM, photography, old master paintings, 17th and 18th century furniture, also performed well. A session devoted to arms and armor is rumored to have raked in ten times the expected result. The grand total of the collection, € 42 million, was proof that Christie’s gamble seems to have paid off. As one Christie’s representative said to me “everyone will be in a good mood for quite a while”.
Unless otherwise indicated, photos by Paul Paradis.
