Paul Follot pair of inlaid armchairs (#1364)

Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 1.jpg
Follot fabulous chairs and marquetry 1.jpg
Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 2.jpg
Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 3.jpg
Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 4.jpg
Follot pair of inlaid armchairs  3.jpg
Follot fabulous chairs and marquetry 2.jpg
Follot fabulous chairs and marquetry 3.jpg
Follot fabulous chairs and marquetry 4.jpg
Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 1.jpg
Follot fabulous chairs and marquetry 1.jpg
Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 2.jpg
Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 3.jpg
Follot 1912 inlaid armchairs before restoration 1912 Salon d'Automn 4.jpg
Follot pair of inlaid armchairs  3.jpg
Follot fabulous chairs and marquetry 2.jpg
Follot fabulous chairs and marquetry 3.jpg
Follot fabulous chairs and marquetry 4.jpg

Paul Follot pair of inlaid armchairs (#1364)

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EARLY French Art Deco armchairs by Paul Follot presented at the 1912 Salon d'Automne and documented in the portfolio thereof. Maple with inlays of amaranth. Frames have been restored and refinished and are awaiting reupholstering.

PAUL FOLLOT (b. 1877 - d. 1958)

Paris-born decorative artist and sculptor PAUL FOLLOT studied at Ecole Normale d'Enseignment du Dessin where he was a student of the esteemed Art Nouveau artist/designer Eugene Grasset. In his early graphic design work he was influenced by medieval and Pre-Raphaelite art. In 1901 he joined La Maison Moderne in Paris where he designed bronzes, jewelry and fabric. By 1904 he had become an independent artist. And by 1910 he had begun to seek “des architectures calmes” ('tranquil architecture') through the use of beautiful and rare materials, refined techniques and harmonious and balanced forms in what would emerge later as the Art Deco style.

His work was first shown at the 1902 Salon of Societe des Artistes Francais and he showed for many years at Societe des Artistes Decorateurs, Nationale des Beaux Arts and Salon d'Automne.

His illustrious career included teaching and theory, and he considered ornamentation an essential element of design and had no interest in the minimalism of Ie style 25. He rejected mass-production art in favor of the aristocratic tradition of luxury.