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By Jean Dunand (1877-1942), a significant patinated black dinanderie vase with a gilded frieze detail, circa 1913.

Signed ‘JEAN DUNAND’ and numbered ‘4502’ under
#JeanDunand

Photograph @mathildehiley

By Jean Dunand (1877-1942), a significant patinated black dinanderie vase with a gilded frieze detail, circa 1913.

Signed ‘JEAN DUNAND’ and numbered ‘4502’ under
#JeanDunand

Photograph @mathildehiley

On the occasion of Eyre de Lanux’s birthday today, we look back at a defining moment of her practice.

An American artist at the heart of the Parisian avant-garde, de Lanux (1894–1996) developed a singular language at the crossroads of early modernism and Art Deco. In the late 1920s, her collaboration with the British weaver Evelyn Wyld gave rise to some of the most striking textile works of the period.

At a time when zebra skins had become emblems of modern luxury interiors, notably in projects by Eileen Gray, Eyre de Lanux reinterpreted this motif through a more abstract and conceptual perspective. Her designs were then handwoven by Wyld, whose mastery of traditional techniques -refined through her travels in North Africa- translated these compositions into tactile, deeply material works.

The resulting “Zèbre” rugs -of which the gallery is proud to hold two examples in its collection- stand as a synthesis of their two practices: at once graphic and sensuous, rooted in craft yet aligned with the most progressive decorative language of their time.

On the last slide, Francis Picabia, a close friend of Eyre de Lanux and a key figure of the Surrealist movement, poses beside a Zèbre rug in a portrait that reveals the closeness between the two artists and how Eyre de Lanux’s work engaged with the language of Surrealism.

#EyredeLanux #EvelynWyld #FrancisPicabia

On the occasion of Eyre de Lanux’s birthday today, we look back at a defining moment of her practice.

An American artist at the heart of the Parisian avant-garde, de Lanux (1894–1996) developed a singular language at the crossroads of early modernism and Art Deco. In the late 1920s, her collaboration with the British weaver Evelyn Wyld gave rise to some of the most striking textile works of the period.

At a time when zebra skins had become emblems of modern luxury interiors, notably in projects by Eileen Gray, Eyre de Lanux reinterpreted this motif through a more abstract and conceptual perspective. Her designs were then handwoven by Wyld, whose mastery of traditional techniques -refined through her travels in North Africa- translated these compositions into tactile, deeply material works.

The resulting “Zèbre” rugs -of which the gallery is proud to hold two examples in its collection- stand as a synthesis of their two practices: at once graphic and sensuous, rooted in craft yet aligned with the most progressive decorative language of their time.

On the last slide, Francis Picabia, a close friend of Eyre de Lanux and a key figure of the Surrealist movement, poses beside a Zèbre rug in a portrait that reveals the closeness between the two artists and how Eyre de Lanux’s work engaged with the language of Surrealism.

#EyredeLanux #EvelynWyld #FrancisPicabia

On the occasion of Eyre de Lanux’s birthday today, we look back at a defining moment of her practice.

An American artist at the heart of the Parisian avant-garde, de Lanux (1894–1996) developed a singular language at the crossroads of early modernism and Art Deco. In the late 1920s, her collaboration with the British weaver Evelyn Wyld gave rise to some of the most striking textile works of the period.

At a time when zebra skins had become emblems of modern luxury interiors, notably in projects by Eileen Gray, Eyre de Lanux reinterpreted this motif through a more abstract and conceptual perspective. Her designs were then handwoven by Wyld, whose mastery of traditional techniques -refined through her travels in North Africa- translated these compositions into tactile, deeply material works.

The resulting “Zèbre” rugs -of which the gallery is proud to hold two examples in its collection- stand as a synthesis of their two practices: at once graphic and sensuous, rooted in craft yet aligned with the most progressive decorative language of their time.

On the last slide, Francis Picabia, a close friend of Eyre de Lanux and a key figure of the Surrealist movement, poses beside a Zèbre rug in a portrait that reveals the closeness between the two artists and how Eyre de Lanux’s work engaged with the language of Surrealism.

#EyredeLanux #EvelynWyld #FrancisPicabia

For André Groult, an all-time favourite of the gallery, furniture was never merely functional. Often imbued with humour and a sense of secrecy, his pieces invite intimacy. This jewel-like box is a perfect expression of that sensibility. The same model was notably present in Jacques Doucet’s residence.

André Groult (1884–1966)
Secret box or jewelry box in lemonwood, with a top in smoky-toned shagreen, circa 1920
#AndreGroult @andregroult

For André Groult, an all-time favourite of the gallery, furniture was never merely functional. Often imbued with humour and a sense of secrecy, his pieces invite intimacy. This jewel-like box is a perfect expression of that sensibility. The same model was notably present in Jacques Doucet’s residence.

André Groult (1884–1966)
Secret box or jewelry box in lemonwood, with a top in smoky-toned shagreen, circa 1920
#AndreGroult @andregroult

For André Groult, an all-time favourite of the gallery, furniture was never merely functional. Often imbued with humour and a sense of secrecy, his pieces invite intimacy. This jewel-like box is a perfect expression of that sensibility. The same model was notably present in Jacques Doucet’s residence.

André Groult (1884–1966)
Secret box or jewelry box in lemonwood, with a top in smoky-toned shagreen, circa 1920
#AndreGroult @andregroult

Celebrating Jacques Doucet (1853-1929), born on this day.

A couturier, collector, and patron, Jacques Doucet played above all a foundational role in shaping both the emergence and later rediscovery of Art Deco. After having collected the decorative arts of previous centuries, his stroke of genius came in 1912, when he redirected his attention toward the decorative arts of his own time, becoming one of the first to recognize and support a new generation of designers while commissioning pieces from them.

His last residence at 33 rue Saint-James in Neuilly-sur-Seine (as seen in the pictures), stands as perhaps the most complete expression of his vision, conceived as a total work of art in which architecture, by Paul Ruaud, and interiors furnished by Pierre Legrain, Eileen Gray, Marcel Coard, formed a unified environment dedicated to the most advanced decorative creation of his era.

Doucet’s role would prove equally decisive in the movement’s later historiography. The landmark auction of his collection in 1972 revealed the full significance of these works, bringing them back into public consciousness and establishing Art Deco as a major field of collecting, effectively passing the torch to a new generation of collectors such as Yves Saint Laurent. This moment of rediscovery transformed objects once considered marginal into icons of modern design, elevating Doucet as both its earliest champion and its most decisive precursor.

Portrait of Jacques Doucet by Man Ray, 1926. ©️ Man Ray Trust / Adagp, Paris
#JacquesDoucet

Celebrating Jacques Doucet (1853-1929), born on this day.

A couturier, collector, and patron, Jacques Doucet played above all a foundational role in shaping both the emergence and later rediscovery of Art Deco. After having collected the decorative arts of previous centuries, his stroke of genius came in 1912, when he redirected his attention toward the decorative arts of his own time, becoming one of the first to recognize and support a new generation of designers while commissioning pieces from them.

His last residence at 33 rue Saint-James in Neuilly-sur-Seine (as seen in the pictures), stands as perhaps the most complete expression of his vision, conceived as a total work of art in which architecture, by Paul Ruaud, and interiors furnished by Pierre Legrain, Eileen Gray, Marcel Coard, formed a unified environment dedicated to the most advanced decorative creation of his era.

Doucet’s role would prove equally decisive in the movement’s later historiography. The landmark auction of his collection in 1972 revealed the full significance of these works, bringing them back into public consciousness and establishing Art Deco as a major field of collecting, effectively passing the torch to a new generation of collectors such as Yves Saint Laurent. This moment of rediscovery transformed objects once considered marginal into icons of modern design, elevating Doucet as both its earliest champion and its most decisive precursor.

Portrait of Jacques Doucet by Man Ray, 1926. ©️ Man Ray Trust / Adagp, Paris
#JacquesDoucet

Celebrating Jacques Doucet (1853-1929), born on this day.

A couturier, collector, and patron, Jacques Doucet played above all a foundational role in shaping both the emergence and later rediscovery of Art Deco. After having collected the decorative arts of previous centuries, his stroke of genius came in 1912, when he redirected his attention toward the decorative arts of his own time, becoming one of the first to recognize and support a new generation of designers while commissioning pieces from them.

His last residence at 33 rue Saint-James in Neuilly-sur-Seine (as seen in the pictures), stands as perhaps the most complete expression of his vision, conceived as a total work of art in which architecture, by Paul Ruaud, and interiors furnished by Pierre Legrain, Eileen Gray, Marcel Coard, formed a unified environment dedicated to the most advanced decorative creation of his era.

Doucet’s role would prove equally decisive in the movement’s later historiography. The landmark auction of his collection in 1972 revealed the full significance of these works, bringing them back into public consciousness and establishing Art Deco as a major field of collecting, effectively passing the torch to a new generation of collectors such as Yves Saint Laurent. This moment of rediscovery transformed objects once considered marginal into icons of modern design, elevating Doucet as both its earliest champion and its most decisive precursor.

Portrait of Jacques Doucet by Man Ray, 1926. ©️ Man Ray Trust / Adagp, Paris
#JacquesDoucet

Celebrating Jacques Doucet (1853-1929), born on this day.

A couturier, collector, and patron, Jacques Doucet played above all a foundational role in shaping both the emergence and later rediscovery of Art Deco. After having collected the decorative arts of previous centuries, his stroke of genius came in 1912, when he redirected his attention toward the decorative arts of his own time, becoming one of the first to recognize and support a new generation of designers while commissioning pieces from them.

His last residence at 33 rue Saint-James in Neuilly-sur-Seine (as seen in the pictures), stands as perhaps the most complete expression of his vision, conceived as a total work of art in which architecture, by Paul Ruaud, and interiors furnished by Pierre Legrain, Eileen Gray, Marcel Coard, formed a unified environment dedicated to the most advanced decorative creation of his era.

Doucet’s role would prove equally decisive in the movement’s later historiography. The landmark auction of his collection in 1972 revealed the full significance of these works, bringing them back into public consciousness and establishing Art Deco as a major field of collecting, effectively passing the torch to a new generation of collectors such as Yves Saint Laurent. This moment of rediscovery transformed objects once considered marginal into icons of modern design, elevating Doucet as both its earliest champion and its most decisive precursor.

Portrait of Jacques Doucet by Man Ray, 1926. ©️ Man Ray Trust / Adagp, Paris
#JacquesDoucet

Celebrating Jacques Doucet (1853-1929), born on this day.

A couturier, collector, and patron, Jacques Doucet played above all a foundational role in shaping both the emergence and later rediscovery of Art Deco. After having collected the decorative arts of previous centuries, his stroke of genius came in 1912, when he redirected his attention toward the decorative arts of his own time, becoming one of the first to recognize and support a new generation of designers while commissioning pieces from them.

His last residence at 33 rue Saint-James in Neuilly-sur-Seine (as seen in the pictures), stands as perhaps the most complete expression of his vision, conceived as a total work of art in which architecture, by Paul Ruaud, and interiors furnished by Pierre Legrain, Eileen Gray, Marcel Coard, formed a unified environment dedicated to the most advanced decorative creation of his era.

Doucet’s role would prove equally decisive in the movement’s later historiography. The landmark auction of his collection in 1972 revealed the full significance of these works, bringing them back into public consciousness and establishing Art Deco as a major field of collecting, effectively passing the torch to a new generation of collectors such as Yves Saint Laurent. This moment of rediscovery transformed objects once considered marginal into icons of modern design, elevating Doucet as both its earliest champion and its most decisive precursor.

Portrait of Jacques Doucet by Man Ray, 1926. ©️ Man Ray Trust / Adagp, Paris
#JacquesDoucet

Celebrating Jacques Doucet (1853-1929), born on this day.

A couturier, collector, and patron, Jacques Doucet played above all a foundational role in shaping both the emergence and later rediscovery of Art Deco. After having collected the decorative arts of previous centuries, his stroke of genius came in 1912, when he redirected his attention toward the decorative arts of his own time, becoming one of the first to recognize and support a new generation of designers while commissioning pieces from them.

His last residence at 33 rue Saint-James in Neuilly-sur-Seine (as seen in the pictures), stands as perhaps the most complete expression of his vision, conceived as a total work of art in which architecture, by Paul Ruaud, and interiors furnished by Pierre Legrain, Eileen Gray, Marcel Coard, formed a unified environment dedicated to the most advanced decorative creation of his era.

Doucet’s role would prove equally decisive in the movement’s later historiography. The landmark auction of his collection in 1972 revealed the full significance of these works, bringing them back into public consciousness and establishing Art Deco as a major field of collecting, effectively passing the torch to a new generation of collectors such as Yves Saint Laurent. This moment of rediscovery transformed objects once considered marginal into icons of modern design, elevating Doucet as both its earliest champion and its most decisive precursor.

Portrait of Jacques Doucet by Man Ray, 1926. ©️ Man Ray Trust / Adagp, Paris
#JacquesDoucet

Maurice Dufrène (1876–1955) was a central figure in early 20th‑century French decorative arts, whose work articulated the transition from Art Nouveau’s organic richness to the poised modernity of Art Deco.

This important pair of bergères - in carved and ebonized wood, upholstered in dark chocolate cotton velvet, circa 1919 - is a perfect expression of that moment of tension that defined Dufrène’s oeuvre.

photograph @mathildehiley

Jacques-Émile Ruhlmann (1879–1933)

Important ‘Lambiotte’ occasional table in elm burl, sapele and ivorine, circa 1933.

A quintessential Ruhlmann creation, with its balance between the rigour of line and the sensuality of precious materials.

From a private French collection, thence by descent.
#JacquesEmileRuhlmann

Jacques-Émile Ruhlmann (1879–1933)

Important ‘Lambiotte’ occasional table in elm burl, sapele and ivorine, circa 1933.

A quintessential Ruhlmann creation, with its balance between the rigour of line and the sensuality of precious materials.

From a private French collection, thence by descent.
#JacquesEmileRuhlmann

Jacques-Émile Ruhlmann (1879–1933)

Important ‘Lambiotte’ occasional table in elm burl, sapele and ivorine, circa 1933.

A quintessential Ruhlmann creation, with its balance between the rigour of line and the sensuality of precious materials.

From a private French collection, thence by descent.
#JacquesEmileRuhlmann

Dear friends,

Wishing you all the very best for 2026.

The gallery has reopened today, and I look forward to welcoming you again in our space for a year filled with new encounters around Art Deco, through upcoming fairs, exhibitions, and special projects.

Warmest,
Maxime

Pictured here: An important Jean Dunand dinanderie coupe on a pedestal, with a stylised silver floral pattern, circa 1920
#JeanDunand

Photograph @mathildehiley

Dear friends,
Wishing you all a happy holiday season.
The gallery will be closed for the holidays and will reopen on Tuesday, January 6th, 2026.
I look forward to welcoming you again soon at our space.
Warmest,
Maxime

Pictured here on a Emile-Jacques Ruhlmann sofa, a set of three embroidered pillows in silk and metal thread, depicting a Cubist composition by Marcel-Louis Baugniet, circa 1925
#EmileJacquesRuhlmann #MarcelLouisBaugniet

We are proud to announce that our large ovoid vase by Ernest Chaplet (1835–1909), dated 1893, has been acquired by @museeorsay for its permanent collection.

This unique piece was presented in 1910 at the Musée des Arts Décoratifs during the retrospective dedicated to the artist.

A great honor for the gallery.
#ErnestChaplet

Currently on display at the gallery, this important black-patinated dinanderie plate with a silver spiral pattern by Jean Dunand, circa 1925.

Signed ‘JEAN DUNAND’ and numbered ‘5364’

#JeanDunand

Currently on display at the gallery, this important black-patinated dinanderie plate with a silver spiral pattern by Jean Dunand, circa 1925.

Signed ‘JEAN DUNAND’ and numbered ‘5364’

#JeanDunand

By Francis Jourdain (1876–1958), a geometric cubic armchair with inclined armrests, upholstered in deep violet satin, circa 1920-1925. Almost cut like a precious stone, this piece is emblematic of the Art Deco vocabulary, where furniture, by its compact scale and precise lines, approached the construction of jewelry.

Slide 2: Our model as seen in the April 1924 issue of ‘L’Amour de l’Art’

By Francis Jourdain (1876–1958), a geometric cubic armchair with inclined armrests, upholstered in deep violet satin, circa 1920-1925. Almost cut like a precious stone, this piece is emblematic of the Art Deco vocabulary, where furniture, by its compact scale and precise lines, approached the construction of jewelry.

Slide 2: Our model as seen in the April 1924 issue of ‘L’Amour de l’Art’

‘Céramiques 1890-1930’ for Design Miami.Paris

Historical ceramic works by Jean Besnard, Ernest Chaplet, and Pierre-Adrien Dalpayrat.

Floral compositions by @boutemythierry

Photographs on large-format film by @mathildehiley

Thank you to everyone who made this project happen and who joined us at the fair.

‘Céramiques 1890-1930’ for Design Miami.Paris

Historical ceramic works by Jean Besnard, Ernest Chaplet, and Pierre-Adrien Dalpayrat.

Floral compositions by @boutemythierry

Photographs on large-format film by @mathildehiley

Thank you to everyone who made this project happen and who joined us at the fair.

‘Céramiques 1890-1930’ for Design Miami.Paris

Historical ceramic works by Jean Besnard, Ernest Chaplet, and Pierre-Adrien Dalpayrat.

Floral compositions by @boutemythierry

Photographs on large-format film by @mathildehiley

Thank you to everyone who made this project happen and who joined us at the fair.

‘Céramiques 1890-1930’ for Design Miami.Paris

Historical ceramic works by Jean Besnard, Ernest Chaplet, and Pierre-Adrien Dalpayrat.

Floral compositions by @boutemythierry

Photographs on large-format film by @mathildehiley

Thank you to everyone who made this project happen and who joined us at the fair.