DOI Heft:
Division III: France
DOI Artikel:Segard, Achille: French architecture and decoration
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19999#0248
FRENCH ARCHITECTURE AND DECORATION
has done—wood-carving and decorative work of all kinds—there
is a sobriety, a vigour and consequently a style which is his own.
M. Georges Turck is one of those who in the provinces pursue
the difficult task of making modern art triumph over the inertia
of a public accustomed to imitative furniture. He is often original
and always conscientious.
In Paris, the Societe des Artistes-Decorateurs boasts one hun-
dred and fifty active members, not one of whom is lacking in
talent. To name one at random, take a personality like M. Tony
Selmersheim (F 15), formerly associated with that eminent archi-
tect M. Charles Plumet, and now continuing his brilliant career
alone. He has modelled ceilings, designed friezes, worked in iron,
copper and bronze, has superintended wood-carvings, balusters,
furniture of all sorts and sizes ; and almost everything he has
made bears his personal- stamp of elegance combined with common
sense. There is, indeed, hardly a branch of applied art in which he
has not shown his activity. Let me add that M. Pierre Selmers-
heim has produced works, many of which are in no way inferior to
those of his elder brother; and that their brother-in-law, M. Soccard,
is well known for his stained glass, which is always remarkable for
fine combinations of colour.
Another artist worthy of careful study is M. Eugene Gaillard
(F 16), who displayed in 1900, among other remarkable things, a
chair of absolutely new design, comfortable, solid, and with fine
broad lines. At the last exhibition at the Pavilion de Marsan he
showed a lady's bureau, a little work quite remarkable for the novelty
of its linear combination, and its stability. An artist more conscien-
tious and more convincing than M. Gaillard it were difficult to
find.
No less personal is M. Theodore Lambert (F 5 to 8), repro-
ductions of whose magnificent jewellery have already appeared in
The Studio. His books on decorative art form an inexhaustible
storehouse of documents ; but he has made for himself a place apart
with his etageres, his lamps, his furniture of all kinds, and his
buildings—particularly his little house in Brittany. The examples
illustrated here will give the reader an idea of M. Lambert's work.
Among all the names which suggest themselves as worthy ot
mention, I recognise those of M. Grasset, M. Bellery-Desfontaines,
that interesting and thorough artist, M. Coudyser (chiefly notable
for his tapestries), M. Jallot, M. Gallerey, M. Seguy, M. Landry
and many others.
M. Gallerey (F 17) specialises in furniture ot a moderate price,
and in the important exhibition last year devoted to this work, he
xxxix
has done—wood-carving and decorative work of all kinds—there
is a sobriety, a vigour and consequently a style which is his own.
M. Georges Turck is one of those who in the provinces pursue
the difficult task of making modern art triumph over the inertia
of a public accustomed to imitative furniture. He is often original
and always conscientious.
In Paris, the Societe des Artistes-Decorateurs boasts one hun-
dred and fifty active members, not one of whom is lacking in
talent. To name one at random, take a personality like M. Tony
Selmersheim (F 15), formerly associated with that eminent archi-
tect M. Charles Plumet, and now continuing his brilliant career
alone. He has modelled ceilings, designed friezes, worked in iron,
copper and bronze, has superintended wood-carvings, balusters,
furniture of all sorts and sizes ; and almost everything he has
made bears his personal- stamp of elegance combined with common
sense. There is, indeed, hardly a branch of applied art in which he
has not shown his activity. Let me add that M. Pierre Selmers-
heim has produced works, many of which are in no way inferior to
those of his elder brother; and that their brother-in-law, M. Soccard,
is well known for his stained glass, which is always remarkable for
fine combinations of colour.
Another artist worthy of careful study is M. Eugene Gaillard
(F 16), who displayed in 1900, among other remarkable things, a
chair of absolutely new design, comfortable, solid, and with fine
broad lines. At the last exhibition at the Pavilion de Marsan he
showed a lady's bureau, a little work quite remarkable for the novelty
of its linear combination, and its stability. An artist more conscien-
tious and more convincing than M. Gaillard it were difficult to
find.
No less personal is M. Theodore Lambert (F 5 to 8), repro-
ductions of whose magnificent jewellery have already appeared in
The Studio. His books on decorative art form an inexhaustible
storehouse of documents ; but he has made for himself a place apart
with his etageres, his lamps, his furniture of all kinds, and his
buildings—particularly his little house in Brittany. The examples
illustrated here will give the reader an idea of M. Lambert's work.
Among all the names which suggest themselves as worthy ot
mention, I recognise those of M. Grasset, M. Bellery-Desfontaines,
that interesting and thorough artist, M. Coudyser (chiefly notable
for his tapestries), M. Jallot, M. Gallerey, M. Seguy, M. Landry
and many others.
M. Gallerey (F 17) specialises in furniture ot a moderate price,
and in the important exhibition last year devoted to this work, he
xxxix