Jean DUNAND (1877–1942) - Lot 5

Jean DUNAND (1877–1942) Set of four nesting tables, circa 1932. Each table features a rectangular top lacquered and gilded with gold leaf in a geometric pattern, resting on four square-section corner legs lacquered in buff. Stamped “Jean Dunand 72 rue Halle Paris” and marked “MADE in FRANCE” on the underside of the tabletops, with the client’s label on three of them. Felt lining on the underside of some of them. H.: 45.5 cm; W.: 53 cm; D.: 40 cm. H.: 42 cm; W.: 45.5 cm; D.: 40 cm. H.: 38 cm; W.: 40 cm; D.: 38 cm. H.: 34.5 cm; W.: 40 cm; D.: 31 cm. Signs of wear, slight damage to the tops, and chips in the lacquer. Provenance: Collection of Mr. and Mrs. Émile Paravicini. Commissioned directly from the artist. Passed down through the family. In 1928, Jean Dunand created the lacquer portrait and its preparatory study of Mrs. Paravicini seated on a green mosaic basin, dressed in a beautiful draped gown and wearing Art Deco jewelry, gazing at her reflection in the water amid the water lilies. Bibliography: Béatrice Salmon & Cloé Pitiot, Cheska and Bob Vallois, 50 Years of Art Deco Passion, Éditions courtes et longues, 2025, side-by-side comparison reproduced on p. 125. Pierre Passebon, *Jacques Grange: Recent Work*, Éditions Flammarion, 2021, side table reproduced on p. 226. Félix Marcilhac & Amélie Marcilhac, *Jean Dunand*, Éditions Norma, 2020, side tables reproduced on p. 289 under number 13. “For lacquerwork, we use a soft wood (neither oak nor maple) that does not warp, such as pear, tabasco, and all types of mahogany. Here are the different stages of lacquer application: The wood absorbs a first coat of natural lacquer that adheres strongly; The canvas application. — This is the process of covering the lacquer with canvas so that any wood grain that might be visible in a piece of furniture is concealed. Sanding this layer. — The layer must not be too thick, otherwise the underside would remain soft. This is why we allow five days for drying; and then we sand the new layer as well. The first sanding produces a matte finish, which is essential for the second coat to adhere to the first. If the coats were applied directly on top of one another, the lacquer films could peel off.” Jean Dunand, 1926.