Alastair Duncan was for many years an offi cer ART DECO and consultant of Christie’s, New York, and is now an COMPLETE independent consultant on the decorative arts of the 19th contents ART DECO and 20th centuries. He is the author of many books on the Art – Deco period, including Art Nouveau and Art Deco Lighting, introduction 6 ceramics 206 Art Deco Furniture, American Art Deco and Art Nouveau and ALASTAIR rené buthaud 214 COMPLETE Art Deco Bookbinding (all published by Thames & Hudson). media and masters 12 clarice cliff 216 DUNCAN émile decoeur 220 THE DEFINITIVE GUIDE TO THE DECORATIVE Other titles of interest furniture and interior viktor schreckengost 224 ARTS OF THE 1920s AND 1930s decoration 14 pierre chareau 23 lighting 228 ALASTAIR DUNCAN American Art Deco donald deskey 28 albert cheuret 234 Alastair Duncan 34 ART DECO maurice dufrène jean perzel 238 With 502 illustrations, paul dupré-lafon 38 simonet frères 242 233 in colour Straddling two World Wars and the Great Depression, jean-michel frank 42 ushering in the Jazz Age and the era of the automobile paul-théodore frankl 48 textiles 246 and skyscraper, fomenting in the great cities of Europe and Art Deco Furniture eileen gray 52 ivan da silva bruhns 255 America and shaping everything from the Golden Gate Bridge to the humble desk lamp, the story of Art Deco is the The French Designers robert mallet-stevens 56 gunta stölzl 260 story of our modern world. Alastair Duncan martine (paul poiret) 60 With 312 illustrations, charlotte perriand 62 silver, metal, lacquer 68 in colour Art Deco was the most deliberately elaborate of 20th-century eugène printz 66 and enamel 264 decorative styles. In its purest forms, it developed from a armand-albert rateau 72 edgar brandt 273 COMPLETE characteristically French image of luxury and refi nement, Art Deco and Modernist Carpets jacques-émile ruhlmann 79 maison desny 280 often expressed in the 1920s in the use of exotic and Susan Day süe et mare 88 jean dunand 284 unusual materials. Later, modernist European and American designers incorporated metal and plastic in styles described Preface by Yves Mikaeloff jean puiforcat 294 as ‘Streamline Moderne’, but which are now called ‘Deco’. With 250 illustrations, sculpture 96 149 in colour Although Paris was the spiritual home of the movement, Art demetre chiparus 104 jewelry 298 Deco was a truly global style, with designers from every carl paul jennewein 110 cartier 306 country in Europe and the Americas inspired by a vast Art Deco Textiles boris lovet-lorski 114 fouquet 310 international catalogue of artistic and craft traditions, ranging The French Designers jan and joël martel 118 raymond templier 314 from ancient Egypt and the classical Mediterranean to the Alain-René Hardy gustav miklos 122 colonial outposts of Asia and Africa. With 316 illustrations, johann-philipp preiss 126 304 in colour In the most comprehensive account of the decorative a-z of artists, designers arts of the Art Deco period ever assembled, Alastair Duncan paintings, graphics, posters and manufacturers 316 celebrates the rich variety of form and diverse international and bookbinding 130 roots that have made it a perennial favourite of collectors rose adler 137 and a constant source of inspiration for designers. The guide paul bonet 142 sources of quotations 528 begins with a series of essays on the major media of the Art cassandre (adolphe mouron) 148 acknowledgments 528 Deco period: Furniture and Interior Decoration; Sculpture; Paintings, Graphics, Posters and Bookbinding; Glass; paul colin 152 glossary 529 Ceramics; Lighting; Textiles; Silver, Metal, Lacquer and tamara de lempicka 170 select bibliography 531 ALASTAIR DUNCAN Enamel; and Jewelry, each followed by lavishly illustrated in- jean dupas 156 picture credits 533 depth biographies of the major designers and artists working erté (romain de tirtoff) 160 index 535 in the medium. The second half of the book is an authoritative pierre-émile legrain 164 illustrated A–Z listing of all signifi cant designers in the Art françois-louis schmied 174 Deco style, comprising over four hundred entries. This sales blad contains uncorrected proofs Sumptuously illustrated and written by one of the world’s glass 178 of sample pages in miniature. leading experts, Art Deco Complete will be the defi nitive joseph-gabriel argy-rousseau 184 The full specifi cation for the book itself is: work on the subject for many years to come. daum frères 188 If you would like to receive details of our new and forthcoming françois-émile decorchemont 192 Trimmed page size: 30.8 x 24 cm hardback titles, please send your name and address to rené lalique 196 With over 1,000 illustrations in colour and black-and-white 544 pages with over 1,000 illustrations maurice marinot 202 ISBN 978-0-500-23855-4 £50.00 181A High Holborn London WC1V 7QX (price subject to change without notice) www.thamesandhudson.com On the jacket: Thames & Hudson 181A High Holborn, London WC1V 7QX Based on a binding for L’Ombre des jours (Anna de Noailles), www.thamesandhudson.com Georges Levitsky, 1938. edward mcknight kauffer jean-gabriel domergue gustave miklos various unidentified artist (left) Women Bathers, oil on canvas, 1929. Irene and her Sister, oil on canvas, 1925. clarice cliff (1899–1972) Cliff was born in Tunstall, Staffordshire, the Staffordshire. There she worked initially in her hand-painted geometric patterns, entitled Harrods, Liberty, Waring & Gillow and Selfridges. watching television. In 1964, following her Winter Sale, lithographic poster, 1919. (left) Elegante au Diamant, oil on canvas, (beloww) Tête Cubiste, gouache and ink on (opposite) Selection of Modernist clocks and (right) Tea service in brass and copper with fourth of seven children of an iron moulder. She freehand decoration. Around 1920, Cliff’s ‘Bizarre’, was shown to the public in August that In 1930, her most productive year, Cliff was husband’s death three years earlier, she sold A. J. 1928. silver paper, 1922, exhibited at the Léonce lamps, including, (top) lamp in chromed wood handles, manufactured at the (beloww) Portrait of the Marquis d’Afflito, attended the High Street Elementary School and painterly skills were recognized by the year and quickly established her name within the appointed artistic director at both A. J. Wilkinson Wilkinson and the Newport Pottery to W. R. Rosenberg Galerie de L’Effort Moderne, Paris, metal and copper by Marc Erol, issued in an Metallwerkstatt, Bauhaus, Weimar, 1924. oil on canvas, 1925. Summerbank School in her native town. Her first decorating shop manager, who also improved her industry. Despite initial criticisms that it was and the Newport Pottery. She experimented 1923. edition by La Crémaillère, c. 1930; (middle Midwinter Ltd. In 1999, the centenary of her row) lamp in chromed metal by Gilbert the gorham manufacturing co. job, in 1912, was a three-year apprenticeship as modelling skills, which played a major role in her vulgar and too advanced for the market, it sold constantly; new patterns included ‘May Avenue’, birth, a major exhibition was staged at the Rohde, c. 1930; clock in etched glass and (below) Cocktail service with tray, 1929. an enameller at the firm of Lingard Webster & later success. Cliff exhibited at the 1924 British briskly and remained in production until 1939. ‘Orange Roof Cottage’ and ‘Windbells’. In the Wedgwood Visitors’ Centre accompanied by a chromed- and painted metal by Gilbert Co., based at the Swan Pottery in Tunstall. This Empire Exhibition. After 1925, she was given her Further patterns, which proved equally mid-1930s, however, sales began to fall off and new publication on her life and work. To today’s Rohde, c. 1930; and desk lamp in Bakelite by she left in 1915 to join Hollingshead & Kirkham own studio in which to experiment, at the popular for their eye-catching stylizations and some patterns were phased out. Charles Baratelli, manufactured by Polaroid, collector, Cliff’s works epitomize the Art Deco c. 1927; and (bottom row) alarm clock in at the Unicorn Pottery, where she developed a Newport Pottery – a small pottery purchased by lightheartedness, were soon forthcoming, After the Second World War, Cliff movement in British ceramics. chromed metal and walnut by Gilbert Rohde, talent for ceramics while in the lithography Wilkinson in 1920, away from the main including ‘Crocus’, ‘Diamond’, ‘Mondrian’ and attempted to revive A. J. Wilkinson’s sales, for the Herman Miller Clock Co., c. 1933; and department. During these years, her parents production area. ‘Castellated Circle’. Some of these were especially in the USA. One of her first new desk lamp in chromed and painted metal by sponsored her attendance at evening classes at In 1927, Cliff attended the Royal College of produced on streamlined old Wilkinson forms. designs was ‘Bristol’, in 1948. As consumer tastes Gilbert Rohde, manufactured by the Mutual- Sunset Lamp & Manufacturing Co., c. 1933. the Tunstall School of Art and the Burslem Art, London, where she enrolled in modelling, They were followed by newly modelled ones, had changed since the war, her designs were School of Art. figure composition and life drawing classes. After including ‘Cone’, ‘Stamford’ and ‘Eton’. Soon a therefore more conservative, their earlier frivolity paintings, graphics, posters With the advent of the First World War, Cliff a quick trip to Paris, she determined to produce wide range of new designs and shapes was in and vibrant palette absent. Included among her Vases decorated with various ‘Bizarre’ left Hollingshead & Kirkham for Burslem-based colourful Modernist designs, and experimented production, offered to the nation’s households new models, in response to customer demand, Tea service in the ‘Coral Firs’ ‘Bizarre’ pattern, andand bookbinding patterns, glazed earthenware, 1920s. A. J. Wilkinson Ltd, which traded as Royal in secret over the ensuing months.