Charles-Guillaume Diehl On Sale

Charles-Guillaume Diehl founded his cabinet making and decoration firm at 19 Rue Michel-Le-Comte in 1885. His workshops produced elegant little pieces of furniture in rosewood and thuja and novelties with bronze and porcelain embellishments. It was his luxury boxes, however, (liqueur cellarettes, cigar cabinets, games boxes, cashmere cases, jewelry cases) which assured Diehl’s renown. Already rewarded with a bronze medal at the Universal Exhibition of 1855 in Paris, he exhibited a jardinière with china columns and a liqueur cabinet at the Industrial Arts Exhibition in 1861. In collaboration with the designer Jean Brandely (active from 1867 until 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style, which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehl’s work that they received extensive commentary by the art critic J. Mesnard in his book “Les Merveilles de l’Exposition Universal de 1867”. He writes of a table of which “the pendant bearing hooks and the fan-shaped radiating motif which ornaments the entablature are engraved with love” and a jewelry case where “The head in fine Grecian style makes up the essential part of the fine gilt bronze ornamentation”. For this Universal Exhibition, Diehl also formed a partnership with two famous sculptors: Emile Guillemin (1841–1907), who carved the relief for a mahogany sideboard with galvanic gilt bronzes and Emmanuel Frémiet (1824–1910), who executed the low relief for a cedar medal cabinet with marquetry and silver-plated bronzes. Diehl was again rewarded with a medal of honor at the Union Central Exhibition of 1869 and a progress medal at the Universal Exhibition in Vienna in 1873. Showered with praise by the critics, Diehl is considered one of the most innovative artists of the 19th century. His final appearance was at the 1878 Universal Exhibition in Paris, where he presented outside the competition, his most recent creations, including a work table in marquetry, which with its naturalistic grasshopper motif anticipated Art Nouveau.

In its sinuous lines and flamboyant curves inspired by the natural world, antique Art Nouveau furniture reflects a desire for freedom from the stuffy social and artistic strictures of the Victorian era. The Art Nouveau movement developed in the decorative arts in France and Britain in the early 1880s and quickly became a dominant aesthetic style in Western Europe and the United States.

ORIGINS OF ART NOUVEAU FURNITURE DESIGN

• Emerged during the late 19th century
• Popularity of this modernizing style declined in the early 20th century
• Originated in France and Britain but variants materialized elsewhere
• Informed by Rococo, Pre-Raphaelite art, Japanese art (and Japonisme), Arts and Crafts; influenced modernism, Bauhaus

CHARACTERISTICS OF ART NOUVEAU FURNITURE DESIGN

• Sinuous, organic and flowing lines
• Forms that mimic flowers and plant life
• Decorative inlays and ornate carvings of natural-world motifs such as insects and animals 
• Use of hardwoods such as oak, mahogany and rosewood

ART NOUVEAU FURNITURE DESIGNERS TO KNOW

• Charles Rennie Mackintosh
• Louis Majorelle
• Émile Gallé
• Antoni Gaudí
• Tiffany Studios

ANTIQUE ART NOUVEAU FURNITURE ON 1STDIBS

Art Nouveau — which spanned furniture, architecture, jewelry and graphic design — can be easily identified by its lush, flowing forms suggested by flowers and plants, as well as the lissome tendrils of sea life. Although Art Deco and Art Nouveau were both in the forefront of turn-of-the-20th-century design, they are very different styles — Art Deco is marked by bold, geometric shapes while Art Nouveau incorporates dreamlike, floral motifs. The latter’s signature motif is the "whiplash" curve — a deep, narrow, dynamic parabola that appears as an element in everything from chair arms to cabinetry and mirror frames.

The visual vocabulary of Art Nouveau was particularly influenced by the soft colors and abstract images of nature seen in Japanese art prints, which arrived in large numbers in the West after open trade was forced upon Japan in the 1860s. Impressionist artists were moved by the artistic tradition of Japanese woodblock printmaking, and Japonisme — a term used to describe the appetite for Japanese art and culture in Europe at the time — greatly informed Art Nouveau. 

The Art Nouveau style quickly reached a wide audience in Europe via advertising posters, book covers, illustrations and other work by such artists as Aubrey Beardsley, Henri de Toulouse-Lautrec and Alphonse Mucha. While all Art Nouveau designs share common formal elements, different countries and regions produced their own variants.

In Scotland, the architect Charles Rennie Mackintosh developed a singular, restrained look based on scale rather than ornament; a style best known from his narrow chairs with exceedingly tall backs, designed for Glasgow tea rooms. Meanwhile in France, Hector Guimard — whose iconic 1896 entry arches for the Paris Metro are still in use — and Louis Majorelle produced chairs, desks, bed frames and cabinets with sweeping lines and rich veneers. 

The Art Nouveau movement was known as Jugendstil ("Youth Style") in Germany, and in Austria the designers of the Vienna Secession group — notably Koloman Moser, Josef Hoffmann and Joseph Maria Olbrich — produced a relatively austere iteration of the Art Nouveau style, which mixed curving and geometric elements.

Art Nouveau revitalized all of the applied arts. Ceramists such as Ernest Chaplet and Edmond Lachenal created new forms covered in novel and rediscovered glazes that produced thick, foam-like finishes. Bold vases, bowls and lighting designs in acid-etched and marquetry cameo glass by Émile Gallé and the Daum Freres appeared in France, while in New York the glass workshop-cum-laboratory of Louis Comfort Tiffany — the core of what eventually became a multimedia decorative-arts manufactory called Tiffany Studios — brought out buoyant pieces in opalescent favrile glass. 

Jewelry design was revolutionized, as settings, for the first time, were emphasized as much as, or more than, gemstones. A favorite Art Nouveau jewelry motif was insects (think of Tiffany, in his famed Dragonflies glass lampshade).

Like a mayfly, Art Nouveau was short-lived. The sensuous, languorous style fell out of favor early in the 20th century, deemed perhaps too light and insubstantial for European tastes in the aftermath of World War I. But as the designs on 1stDibs demonstrate, Art Nouveau retains its power to fascinate and seduce.

There are ways to tastefully integrate a touch of Art Nouveau into even the most modern interior — browse an extraordinary collection of original antique Art Nouveau furniture on 1stDibs, which includes decorative objects, seating, tables, garden elements and more.

From cupolas to cookware and fine art to filaments, copper metal has been used in so many ways since prehistoric times. Today, antique, new and vintage copper coffee tables, mirrors, lamps and other furniture and decor can bring a warm metallic flourish to interiors of any kind.

In years spanning 8,700 BC (the time of the first-known copper pendant) until roughly 3,700 BC, it may have been the only metal people knew how to manipulate.

Valuable deposits of copper were first extracted on the Mediterranean island of Cyprus around 4,000 BC — well before Europe’s actual Bronze Age (copper + tin = bronze). Tiny Cyprus is even credited with supplying all of Egypt and the Near East with copper for the production of sophisticated currency, weaponry, jewelry and decorative items.

In the 15th, 16th and 17th centuries, master painters such as Leonardo da Vinci, El Greco, Rembrandt and Jan Brueghel created fine works on copper. (Back then, copper-based pigments, too, were all the rage.) By the late 19th and early 20th centuries, decorative items like bas-relief plaques, trays and jewelry produced during the Art Deco, Arts and Crafts and Art Nouveau periods espoused copper. These became highly valuable and collectible pieces and remain so today.

Copper’s beauty, malleability, conductivity and versatility make it perhaps the most coveted nonprecious metal in existence. In interiors, polished copper begets an understated luxuriousness, and its reflectivity casts bright, golden and earthy warmth seldom realized in brass or bronze. (Just ask Tom Dixon.)

Outdoors, its most celebrated attribute — the verdigris patina it slowly develops from exposure to oxygen and other elements — isn’t the only hue it takes. Architects often refer to shades of copper as russet, ebony, plum and even chocolate brown. And Frank Lloyd Wright, Renzo Piano and Michael Graves have each used copper in their building projects.

Find antique, new and vintage copper furniture and decorative objects on 1stDibs.

Vintage, new and antique vanity tables have forever felt like personal, intimate sanctuaries of sorts, designed to introduce a level of serenity that feels rare and welcome in our otherwise frenetic days. They’ve been variously known as dressing tables or makeup tables over the years, but no matter what we call them — and whether it's a sophisticated contemporary piece or an iconic vintage Luigi Massoni vanity — vanities have offered a special place for us to get ready for work, an early-morning appointment or lunch date or whatever lies ahead.

“Beauty routines, taking the time to protect what you have, a moment to accessorize, a moment to pause and slow down — these are all so important now as an antidote to our fast and hectic lives,” says Oona Bannon, creative director of Pinch Design in Clapham, South London. “Just thinking about a dressing table makes me feel calm.”

When decorative boxes would no longer suffice as repositories for cosmetics, fragrant oils and perfumes, dressing tables originated in France and England during the 17th century. Men who called the latter home used “shaving tables” — a proto-dressing table — for their grooming routines while women found in dressing tables an oasis for applying makeup, particularly as improvements upon vanity tables equipped them with mirrors and lighting. In the United States, as vanity tables became a seamless component of bedroom furniture, furniture makers working in Chippendale, Rococo and other styles were regularly commissioned to produce these popular items.

Vanity tables have evolved over the years, and while there is lots to love about the ornate carving and pronounced curvilinear forms of Victorian vanities, the clean lines that characterize mid-century modern vanities and the decorative flourishes associated with Art Deco vanities, the main elements of this furnishing are the same. All vanities are about as tall as a standard table with room for seating furniture, which tends to be a small bench, a stool or an armless chair. Many also have special organization features for makeup. Without a chair and a mirror, a vanity would resemble a dresser.

Nowadays, vanities are more than a place to do hair and makeup. They’re a platform to display beauty products and store makeup collections. Vanities are standard in bedrooms, particularly if you’re not lucky enough to have a spacious dressing room or walk-in closet for your dressing table. The better the lighting is in your bedroom or wherever you’ve positioned your vanity table — even if you’ve opted for a moody setting versus a bright one — the more you will benefit from having this personal place of respite to prepare for the day ahead.

Find your antique, new or vintage vanity table today on 1stDibs.