Pair French Mid-Century Modern Craftsman Stools / Slipper Chairs, Alexandre Noll

A rare and exquisite pair of French Mid-century Hand Carved Chestnut Benches or Stools in the Modern Craftsman style and attributed to Alexandre Noll. The benches are composed of thi...

An Elegant Pair of French Mid-Century Modern Craftsman Side or Lounge Chairs in the style of Pierre Jeanneret. The chairs are an original, handmade creation from the 1960 - 1970 peri...

Unique pair of French mid-century hand-carved stools or benches in the style of Jean Michel Frank. The pieces feature dramatic hand chiseled wood with natural deep channeling that ...

A sober, elegant, handmade Mid-Century Modern side chair in expanded metal showcasing the transparency of it's sleek form and pure lines. Enameled in gloss dark chocolate.

Rare French Midcentury / Late Art Deco, Hand Made Stool or Bench in the style of Jean Michel Frank. The piece is composed of hand hewn hardwood and wide hand crafted leather straps arranged in a rhythmic geometric pattern. This exquisite and charming piece contrasts varying modes of modern styles in its mixture of hand made primitive wood working with pure, modern geometric design strapping. Overall, the stool / bench is a beautiful object and a captivating work of art and sculpture. Frank was the prime movers in French Decorative Arts from 1930 to 1940. He embraced Minimalism, Art Deco, Modernism and Neoclassicism in his career and was known for his craftsmanship and elegance. This is typical of Frank's pieces, in that it possess a rare, hand-made quality that transcended past and present. Dimensions are: H 12 x 17.38 x 17.38 Additional References: Andre Arbus, Jacques Adnet, Jean-Michel Frank, Alexandre Noll, Jean Prouve, Studio Craft, Wharton Esherick, Isamu Noguchi, Gio Ponti, Arts and Crafts...

Six French Mid-Century Modern Craftsman bar stools with hand-carved hardwood bases and seats composed of interlaced leather straps circa 1940. These rare...

Brutalist rustic modern sculptured chairs in elm in the style of Alexandre Noll Here are sold the five chairs in the set. Only the chairs alone are sold here, the coffee table is i...

Rustic French Provincial Sculptured Chair in the Style of Alexandre Noll, 1960s The seat width is 32 cm, the seat depth 35 cm and the seat height 38 cm. The overall width is 42cm, ...

Rustic French Provincial Sculptured Chair in the Style of Alexandre Noll, 1960s The seat width is 32 cm, the seat depth 35 cm and the seat height 38 cm. The overall width is 42cm, ...

Rustic French Provincial Sculptured Chair in the Style of Alexandre Noll, 1960s The seat width is 32 cm, the seat depth 35 cm and the seat height 38 cm. The overall width is 42cm, ...

Rustic French Provincial Sculptured Chair in the Style of Alexandre Noll, 1960s The seat width is 32 cm, the seat depth 35 cm and the seat height 38 cm. The overall width is 42cm, ...

Robert Guillerme studied design and architecture at the École Boule, graduating in 1934. After the Second World War he moved to Lille, in the north of France, where he decorated homes and designed furniture for the well regarded Rogier workshops. In 1948 Jacques Chambron left his work as a painter and decorator on the Rue Nollet in Paris, and relocated his family to join Guillerme. The two had met in 1940 while imprisoned by the Germans in East Prussia and bonded over, among other more obvious things, their shared passion for design. In 1949 the pair discovered Émile Dariosecq, a master cabinet maker who had a shop in the city, and who was willing to produce their designs. The three started Votre Maison. The association was destined to be as influential as prolific. Not only did Votre Maison produce over two thousand models during the later half of the twentieth century, it also left an indelible stamp on design of the 50s, 60s and 70s. The company’s output served as a model for a vast field of livable contemporaneous design. The soul of Guillerme et Chambron’s work was in the company’s name (“Your House"). Their focus was as keenly attuned to functionality—furniture’s use in daily life—as to the creation of innovative design. For the pair of designers the home was envisioned as a place where the family could live both comfortably and in aesthetic harmony. Robert Guillerme, who designed most of the work, possessed a limitless creative ambition, producing designs for everything from grand dressers and sideboards to the smallest elements of a space, such as pedestals, shelving, benches, and lighting. This steady output of beautiful furniture bucked convention not merely in the equal emphasis Guillerme placed on function and aesthetics, but in the almost paradoxical creation...