Much of the furniture produced in Paris in the first quarter of the 20th century was historically derived. Many of the most successful cabinetmakers of the period were still making careful copies of Louis XVI designs in expensive veneers, gilt bronze and marble. Historical furniture forms were also relied upon by the Art Deco designers of the period, in many ways to satisfy a client preference for a luxurious “new” look that was still in keeping with traditional notions of good taste and comfort. The fulfillment of this market demand by André Groult and others such as Emile-Jacques Ruhlmann was the basis for the split within the Société des Artistes-Décorateurs and subsequent formation of the Union des Artistes Moderne. This divide would solidify, and come to define French decorative arts in the ensuing decades.

While the present lot predates that rupture, it is representative of the competing forces of early French modernism. Its form, based on the Louis XV duchesse brisée, in which two chairs fit together along the curvature of their seat fronts anticipates certain aspects of modernism in its restrained lines and absence of decorative carving. In this way, Groult has treated the modern movement as he would any other decorative style, drawing on it as he would the 18th century. This thoughtful and playful ability to integrate various sources characterizes his larger body of work and its timeless qualities.