A distinguished pair of Art Deco club armchairs by Jules Leleu, freshly upholstered in an ivory cream cotton-linen of fine woven texture, with crisp contrasting piping tracing every seam and edge. The form is square and architectural — broad flat arms rise at a right angle from the seat, with softly rounded outer corners where the arm meets the back, striking a precise balance between geometric rigour and ergonomic generosity that is characteristic of Leleu's mature 1930s production. The back is an independent upholstered panel, slightly inclined for comfort, framed by the squared arm volumes and separated by a fine piped seam that gives the composition its refined, tailored finish.

The seat is deep and welcoming, with a thick loose cushion in matching ivory cotton-linen fabric the front apron fully upholstered to the base. Four small square feet in dark stained mahogany are the only visible structural element, lifting the form discreetly off the floor while anchoring the piece with a note of warm dark wood — a solution Leleu employed consistently to maintain visual lightness without sacrificing material nobility. Seen from the rear and side, the perfect geometry of the outer shell is revealed: the back panel descends in a single clean plane to the base, the sides read as near-perfect squares, giving the chair an almost architectural solidity from every angle.

The ivory cotton-Linen gives this pair exceptional versatility: equally at home in a period Art Deco interior, a refined contemporary apartment, or a gallery setting, these chairs complement both warm and cool palettes effortlessly.

Jules Leleu (1883–1961) and Maison Leleu
Jules-Émile Leleu was one of the most important French designers of the Art Deco period, winner of the Grand Prix at the 1925 Exposition Internationale des Arts Décoratifs and supplier to the Élysée Palace, the League of Nations in Geneva, and the ocean liners Île-de-France and Normandie. Trained as a sculptor and painter, he founded Maison Leleu at 65 Avenue Franklin-Roosevelt, Paris, in 1924, building a reputation for "opulent simplicity" — clean, volumetric forms enriched by sumptuous materials executed with surgical precision.