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Lot Essay
Albert Cheuret’s Hibou console is a striking example of the Art Deco reinterpretation of classical French furniture traditions. After the fluid forms of Art Nouveau, designers of the 1910s and 1920s sought a renewed dialogue with the disciplined proportions and refined craftsmanship of the Ancien Régime, looking to late-18th-century masters such as Riesener, Roentgen, and Weisweiler. The present console with its accompanying mirror is an enduring fixture of French interior decoration, reemerging in this period with a modern sensibility, defined by clean geometry, sculptural relief, and a restrained decorative program.
The 1922 discovery of Tutankhamun’s tomb introduced a new repertoire of motifs that resonated deeply within the Art Deco movement. Stylized animals, hieroglyphic profiles, and angular silhouettes quickly infiltrated architecture and the decorative arts. Cheuret was particularly receptive to these influences. Birds appear frequently in his work, ranging from naturalistic depictions to highly abstracted forms. The sharply modelled owl that supports the present console reflects this vocabulary: its faceted planes and taut verticality evoke Egyptian prototypes and embody the era’s fascination with exotic fauna rendered in bold, emblematic form.
Born in 1884, Albert Cheuret trained as a sculptor under Jacques Perrin and Georges Lemaître before establishing his Paris atelier at 11 avenue Franco-Russe. Beginning in 1907, he exhibited regularly at the Salon de la Société des Artistes Français. Cheuret soon became known for applying his sculptural instincts to functional objects and particularly lighting. His celebrated lamps and sconces diffuse light through alabaster panels often cut into stylized leaf or feather shapes, underscoring his command of both material and form.
At the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, Cheuret occupied booth 33 on the Pont Alexandre III, identifying himself as a statuaire-décorateur. Although his lighting drew the most attention, he also presented bronzeware that included animal figures, clocks, pedestals, mirrors, and console tables. The present model is believed to have been shown at this landmark exhibition, which cemented his reputation as one of the movement’s most distinctive sculptor-designers.
This console and mirror were formerly displayed in the historic Philadelphia department store Strawbridge’s & Clothier. Founded in 1892 and celebrated for introducing sophisticated European and American design to local clientele, Strawbridge’s became a cultural anchor in the city, particularly after its grand Beaux-Arts flagship opened in 1931. The ensemble descended from a long-serving employee responsible for the store’s imaginative window displays, connecting the piece to a notable chapter in Philadelphia’s history of design presentation and retail culture.
The 1922 discovery of Tutankhamun’s tomb introduced a new repertoire of motifs that resonated deeply within the Art Deco movement. Stylized animals, hieroglyphic profiles, and angular silhouettes quickly infiltrated architecture and the decorative arts. Cheuret was particularly receptive to these influences. Birds appear frequently in his work, ranging from naturalistic depictions to highly abstracted forms. The sharply modelled owl that supports the present console reflects this vocabulary: its faceted planes and taut verticality evoke Egyptian prototypes and embody the era’s fascination with exotic fauna rendered in bold, emblematic form.
Born in 1884, Albert Cheuret trained as a sculptor under Jacques Perrin and Georges Lemaître before establishing his Paris atelier at 11 avenue Franco-Russe. Beginning in 1907, he exhibited regularly at the Salon de la Société des Artistes Français. Cheuret soon became known for applying his sculptural instincts to functional objects and particularly lighting. His celebrated lamps and sconces diffuse light through alabaster panels often cut into stylized leaf or feather shapes, underscoring his command of both material and form.
At the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, Cheuret occupied booth 33 on the Pont Alexandre III, identifying himself as a statuaire-décorateur. Although his lighting drew the most attention, he also presented bronzeware that included animal figures, clocks, pedestals, mirrors, and console tables. The present model is believed to have been shown at this landmark exhibition, which cemented his reputation as one of the movement’s most distinctive sculptor-designers.
This console and mirror were formerly displayed in the historic Philadelphia department store Strawbridge’s & Clothier. Founded in 1892 and celebrated for introducing sophisticated European and American design to local clientele, Strawbridge’s became a cultural anchor in the city, particularly after its grand Beaux-Arts flagship opened in 1931. The ensemble descended from a long-serving employee responsible for the store’s imaginative window displays, connecting the piece to a notable chapter in Philadelphia’s history of design presentation and retail culture.