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Lot Essay
Décorateur de génie à la curiosité infinie, André Groult a su saisir toutes les matières, toutes les techniques. Portant un grand intérêt au travail du verre, cet admirateur de Maurice Marinot (dont il souhaite un temps avoir l’exclusivité), contacte dans les années 20 la prestigieuse maison Daum afin de réaliser ses dessins. La verrerie produit pour Groult un ensemble de pièces aux formes épurées, jouant régulièrement sur l’opacité de la matière, notamment pour les flacons de parfums en verre opalin qu’il crée pour la marque de sa femme, Nicole Groult. En 1925, André Groult demande à Antonin Daum de réaliser les appliques lamellées et lobées qui compléteront l’un des ensembles les plus importants des arts décoratifs français : la chambre de Madame du pavillon de la Société des Artistes Décorateurs de l’exposition des Arts Décoratifs de 1925 où est présenté le Chiffonnier anthropomorphe. Notre œuvre, emprunte d’une inspiration néo-classique mesurée, se transforme par l’adjonction d’une couleur inattendue qui semble glacer la pièce, la rendant éminemment moderne. Elle fut acquise dans les années 30 par la famille Errázuriz-Alvear dont l’ancienne résidence abrite désormais le musée des Arts Décoratifs de Buenos Aires.
A decorator of genius motivated by an infinite curiosity, André Groult was able to grasp a great number of materials and techniques. This admirer of Maurice Marinot (for whom he wished to have exclusivity for a time), took a great interest in the work of glass and contacted the prestigious Maison Daum in the 1920s to realize his designs. The glassworks produced for Groult a set of pieces with pure forms, regularly playing on the opacity of the material—notably for the opaline glass perfume bottles that he created for his wife's brand, Nicole Groult. In 1925, André Groult asked Antonin Daum to create the lamellar and lobed sconces that would complete one of the most important sets of French decorative arts: La Chambre de Madame in the pavilion of the Société des Artistes Décorateurs at the 1925 Decorative Arts exhibition, where the Chiffonnier anthropomorphe was presented. Our work, borrowed from a measured neo-classical inspiration, is transformed by the addition of an unexpected colour that seems to glaze the entire room, making it eminently modern. It was acquired in the 1930s by the Errázuriz-Alvear family, whose former residence now houses the Buenos Aires Museum of Decorative Arts.
A decorator of genius motivated by an infinite curiosity, André Groult was able to grasp a great number of materials and techniques. This admirer of Maurice Marinot (for whom he wished to have exclusivity for a time), took a great interest in the work of glass and contacted the prestigious Maison Daum in the 1920s to realize his designs. The glassworks produced for Groult a set of pieces with pure forms, regularly playing on the opacity of the material—notably for the opaline glass perfume bottles that he created for his wife's brand, Nicole Groult. In 1925, André Groult asked Antonin Daum to create the lamellar and lobed sconces that would complete one of the most important sets of French decorative arts: La Chambre de Madame in the pavilion of the Société des Artistes Décorateurs at the 1925 Decorative Arts exhibition, where the Chiffonnier anthropomorphe was presented. Our work, borrowed from a measured neo-classical inspiration, is transformed by the addition of an unexpected colour that seems to glaze the entire room, making it eminently modern. It was acquired in the 1930s by the Errázuriz-Alvear family, whose former residence now houses the Buenos Aires Museum of Decorative Arts.