Maison Gerard Celebrates 50 Years With Historic Art Deco Pieces on View

Benoist F. Drut: We will be celebrating in a variety of ways over the next several months, including unveiling our fully renovated gallery located at 53 East 10th Street. In honor of our new look (at 50 years old) we will present an impressive mix of historic design and contemporary creations by our best designers. 

Some of the highlights that will be on view include: a new collection, Night CityScape by Stackabl, made with remnant felt and LED lighting, including three pendant lights and three illuminated totems designed by myself for Stackabl; Les 100, a large composition by mirror artist Kiko Lopez at nearly 7 by 7 feet, composed of 100 pieces of glass; a Bombola sofa designed by Georgis & Mirgorodsky; several monumental bronze works by Irish artist, Niamh Barry including On it Goes, In the Eyes Of, and Fouette II; a work by Rachel David, Pollinator Throne, made of patinated steel whose design is closely related to the large bench that the artist was commissioned to create for the Renwick Gallery at the Smithsonian American Art Museum in Washington; and a woven rattan round center table by Peeta Tinay. 

In addition, we will show a rare Boomerang Desk by Maurice Calka circa 1969 for Maison Leleu, in its original condition— it is the only example ever cast in orange— and a monumental cast iron mural weighing 1450 lb. by Charles Hairon (1880 - 1962) from what would have been a Super Club onboard the S.S. Normandie, France circa 1934 that was thought to have disappeared.

NHA: It’s extraordinary to think historical pieces like those will be on view. Why do you think the Art Deco aesthetic continues to resonate with audiences in 2024?

BFD: Art Deco was a reaction to the excess of Art Nouveau, a simplification of the design vocabulary that eventually led to the Modernism movement in the 1930s. Its restrained ornamentation and more geometric shapes and patterns find their place easily in today’s modern interiors and lifestyle.

NHA: How has Maison Gerard’s mission evolved over the decades, as contemporary design becomes a larger part of its ethos?

BFD: Our mission has always been to show materials that we believe in and that will stand the test of time. So by widening our spectrum of interest, our goals remain the same. And we stay faithful and true to our original principles 

NHA: Landmarks in the gallery’s evolution seem to have been pushing Leleu to the 20th century’s forefront and spotlighting contemporary artists like Niamh Barry and Ayala Serfaty. How do you determine which artists are masters you want to promote?

BFD: It is true that we were among the very first ones to highlight the creations of Leleu by organizing five major exhibitions on Maison Leleu at the gallery, contributing to the 500+ page monograph of Maison Leleu, and being the biggest lender of material to the two museum retrospectives on Leleu: Musée des Années 30 and the Musée of Piscine, respectively in Boulogne Billancourt and Roubaix (France).

I would also add the exhibition of the work of Art Deco designer Jules Bouy, a talent too often forgotten. We presented the estate of the famous harpists Lucille Lawrence & Carlos Salzedo; Bouy had created the entire furnishings for their home in Camden, Maine as well as their other residences in Maine. 

NHA: What are some key differences in execution when you’re collecting Art Deco or vintage pieces generally, versus when you’re promoting contemporary artists like Kiko Lopez, Marc Bankowsky, and Niamh Barry? 

BFD: There is no difference— the quality of the work is what drives us to collect and promote.

NHA: I know you began your career as a lawyer, attaining your degree from the Université Paris 2 Panthéon-Assas. Do you feel like your legal background has given you an edge in this profession?
BFD: We have a French saying, “le droit mène à tout à condition d’en sortir,” or “the law leads anywhere as long as you can escape from it.” Which means that it opens many doors. 

Having a legal background may have helped in times of difficult business dealings with approaching complicated situations strategically and logically. 

NHA: How do you feel the art and antiquities market has changed since you took over in 2010? Are there any trends you hope will continue, or are there any you hope may not? 

BFD: Styles come and go— but great design will always remain. 

As Roger Prigent, the legendary antique dealer, collector, and photographer and my first boss in America would say, either you follow the trends or you create them. However, to be more serious, I would also quote Gerardus (Widdershoven) who would always remind me to stay away from trends.

“If you follow the trends, you will buy high trying to catch up with your competitors, and when the trends fade, you are left with an inventory overvalued and less sought after.” And a more practical quote from Gerardus, “buy what you like because if it does not sell, you may have to live with it.” 

We organized an exhibition called The Birth of a Style in 2001 on the origins of Art Deco, showcasing works from 1910 to 1925 and designers like Sue Et Mare, Maurice Dufrene, Jules Leleu, and Jacques Emile Ruhlman.

I remember design magazines at the time featured very sleek and monochromatic interiors and pieces by Christian Liagre and the like. Our show was rich, opulent, and colorful, a stark contrast to the monochromatic and sleek interiors that were featured in the design magazines of the time. However, it was one of the most successful shows we ever presented. 

NHA: As you look to the future, how do you hope to change or shape Maison Gerard for its next fifty years? 

BFD: We have worked hard to earn our reputation in this industry, and a big part of this success has been our love and enthusiasm for sharing information on the works and artists we present. How we show material may change, but the in-person experience will continue to drive our business for the next fifty years.