Louis-Jean-Sylvestre Majorelle, more commonly known as Louis Majorelle, was a French artist, metalworker and Art Nouveau designer celebrated for his bedroom furniture, cabinets, chairs and decorative objects.

In 1877, Majorelle moved to Paris from the town of Nancy where he began his studies in painting under Jean-François Millet at the École de Beaux Arts. Following the death of his father, a furniture designer, he returned to Nancy and took over the family workshop. Parisian architect Henri Sauvage designed Majorelle’s house in Nancy, Villa Majorelle, which featured stained glass by Jacques Gruber.

In order to increase productivity and reduce costs — as well as shift the family business’s focus from reproductions of 18th-century furniture such as Louis XV chairs to instead working in the era’s Art Nouveau style — Majorelle integrated modern techniques and processes at his atelier (these changes were in part inspired by innovative glassmaker Emile Gallé).

The workshop became known for Majorelle’s distinctive designs and the pronounced craftsmanship of its offerings. There were tables made from mahogany and ormolu that featured handsome bronze mounts and marquetry, table lamps that shared common ground with the prized designs associated with Tiffany Studios, and decorative pieces that Majorelle produced in partnership with Daum, a revered manufacturer of French art glass.

The work was very much characterized by the botanical motifs and curvaceous silhouettes of Art Nouveau design, and the business was successful. Majorelle produced a range of items during the early 1900s and was a participant in the 1900 Paris Exposition as well as the Exposition de l'Ecole de Nancy in 1903.

In 1916, a devastating fire broke out in Majorelle’s factory on the rue du Vieil-Aître in Nancy. It destroyed all of the company’s awards, sketches, molds, equipment and archives of Majorelle’s work. In 1917, destruction again shook his business when his shop on the rue Saint-Georges was bombed by German aircraft. The designer marched on — he relocated to Paris where he shared a workspace and created vases and other vessels in the Art Deco style before he moved back to Nancy. Majorelle designed the Nancy Pavilion at the International Exhibition of Modern Decorative and Industrial Arts in 1925 with Alfred Lévy. He died in 1926.

Find antique Louis Majorelle cabinets, seating and decorative objects on 1stDibs.

A Close Look at art-nouveau Furniture

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

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.

Finding the Right armchairs for You

Armchairs have run the gamut from prestige to ease and everything in between, and everyone has an antique or vintage armchair that they love.

Long before industrial mass production democratized seating, armchairs conveyed status and power.

In ancient Egypt, the commoners took stools, while in early Greece, ceremonial chairs of carved marble were designated for nobility. But the high-backed early thrones of yore, elevated and ornate, were merely grandiose iterations of today’s armchairs.

Modern-day armchairs, built with functionality and comfort in mind, are now central to tasks throughout your home. Formal dining armchairs support your guests at a table for a cheery feast, a good drafting chair with a deep seat is parked in front of an easel where you create art and, elsewhere, an ergonomic wonder of sorts positions you at the desk for your 9 to 5.

When placed under just the right lamp where you can lounge comfortably, both elbows resting on the padded supports on each side of you, an upholstered armchair — or a rattan armchair for your light-suffused sunroom — can be the sanctuary where you’ll read for hours.

If you’re in the mood for company, your velvet chesterfield armchair is a place to relax and be part of the conversation that swirls around you. Maybe the dialogue is about the beloved Papa Bear chair, a mid-century modern masterpiece from Danish carpenter and furniture maker Hans Wegner, and the wingback’s strong association with the concept of cozying up by the fireplace, which we can trace back to its origins in 1600s-era England, when the seat’s distinctive arm protrusions protected the sitter from the heat of the period’s large fireplaces.

If the fireside armchair chat involves spirited comparisons, your companions will likely probe the merits of antique and vintage armchairs such as Queen Anne armchairs, Victorian armchairs or even Louis XVI armchairs, as well as the pros and cons of restoration versus conservation.

Everyone seems to have a favorite armchair and most people will be all too willing to talk about their beloved design. Whether that’s the unique Favela chair by Brazilian sibling furniture designers Fernando and Humberto Campana, who repurposed everyday objects to provocative effect; or Marcel Breuer’s futuristic tubular metal Wassily lounge chair; the functionality-first LC series from Charlotte Perriand, Le Corbusier and Pierre Jeanneret; or the Eames lounge chair of the mid-1950s created by Charles and Ray Eames, there is an iconic armchair for everyone and every purpose. Find yours on 1stDibs right now.