Designer French steamer trunks have been collected by both aficionados and novice collectors alike for decades, but what makes them so collectible?

In order to get a better understanding of steamer trunks and their popularity, it is necessary to learn more about their historical context. Following the Industrial Revolution, the invention of steam locomotives and ocean liners from the early to mid-19th century opened the door for intercontinental travel. This resulted in increased use of large trunks to transport traveler’s belongings.

Originally, steamer trunks had a domed top that would protect fine clothing from the elements. However, with increased travel on large ocean liners and trains, how could locomotives and liners successfully store so many pieces of luggage? In response, Louis Vuitton established his company in 1854, fashioning high end steamer trunks with an innovative rectangular form.

Surprisingly, the first Louis Vuitton trunks did not use the well-known monogram canvas. Early steamer trunks were made in grey canvas. Beginning in 1872, this changed to red and beige striped canvas, and in 1888, moved to a Damier checkerboard canvas. It was not until after Louis Vuitton’s death that the company began to produce trunks with the signature Louis Vuitton monogrammed pattern.

How can you find the date of your Louis Vuitton steamer trunk?

The first clue lies with the label found on the interior. Generally, you should pay close attention to the store locations. The newer the trunk, the more store locations included on the label. Here are several images of labels on a variety of trunks offered at Clars.

Additionally, you will want to find a stamped or printed serial number. It is also important to take a look at the engravings on the hardware, as well as embroidery and stitching on the interior. Signatures will also appear on other elements, right down to the hangers. As antique Louis Vuitton trunks were not mechanically massed produced, there are many details to look for.

What should I look for when purchasing a Louis Vuitton trunk?

There are several important factors to ask when buying a Louis Vuitton trunk, but it is most important to purchase your trunk from a reputable source. It is imperative is to request additional photographs, and ask the seller questions about the trunk. When in doubt, it is important to send photographs of your trunk and label to a reputable gallery.

Steamer trunks are only one of many forms of luggage produced by Louis Vuitton. Clars has sold a variety of forms, including a train case, a cabin trunk, a wardrobe, as well as hardcase luggage. A form that is rarer can be more collectible, for example this exceptional vertical Louis Vuitton steamer trunk with basket insert that hammered for $13,000. For further reading, Louis Vuitton has produced a guide titled Louis Vuitton: 100 Legendary Trunks, which includes over eight hundred photographs of Louis Vuitton trunks and luggage.

Are there other early 20th century French designers who manufactured steamer trunks?

Louis Vuitton was not the only French designer manufacturing steamer trunks at the turn of the 20th century. Another well-known and collectible French designer is Goyard. Goyard was established in 1853, just one year before Louis Vuitton opened his doors. While the company began under the leadership of Francois Goyard, many rectangular steamer trunks, circa 1900, were created under the authority of Edmond Goyard (1860–1937). Goyard is known for its signature chevron canvas. Similar to Louis Vuitton, it is important to take a look at the hardware and interior stitching. As Goyard was also a high end producer, the hardware should be engraved or embossed, and the interior should have the original stitched Goyard strapwork.

Again, if you are unsure if your trunk is an authentic Louis Vuitton or Goyard example, it is advisable to send photographs to a knowledgeable gallery. It is also imperative that you purchase trunks from trustworthy galleries, and ask for additional photographs. A reliable gallery will be happy to address and questions or concerns you may have about a piece.

Niamh Barry is a distinguished Irish artist and designer celebrated for her innovative light fixtures that seamlessly fuse exceptional craftsmanship with a deep appreciation for materials like copper and glass.

With a background in both fine arts and design, Barry’s artistic journey is rooted in a lifelong fascination with the natural world. Her creations draw inspiration from organic forms and the intricate patterns found in nature, emphasizing the dynamic interplay of light and shadow.

Barry’s work is characterized by its ability to evoke emotions and create immersive atmospheres, transforming functional objects into stunning focal points. Each piece reflects her meticulous attention to detail and her commitment to quality, showcasing her skillful blend of traditional techniques with contemporary design principles. This unique approach has garnered her significant acclaim within the design community, leading to numerous exhibitions and collaborations.

Her work not only serves a practical purpose but also invites viewers to engage with the transformative power of light, making her fixtures an essential component of modern interior design. With a growing portfolio of work and a reputation for excellence, Barry continues to push the boundaries of design, establishing herself as a prominent figure in the art and lighting design world.

Clars is thrilled to have featured one of Barry’s light fixtures in our October 18th auction, titled This Is What I Like #1, a copper and glass light fixture from 2013, measuring 48″ x 55″. The competitive bidding — both online and via phone — resulted in the piece selling for an impressive $50,400, well above its estimated value of $4,000–$6,000. This clearly reflects the strong demand for her work in the collectible market, and Clars is proud to represent her creations. Its new home will be in a Contemporary Modern mansion in California.

Philip and Kelvin LaVerne were a father son furniture making team who worked out of New York. They made works in pewter and bronze and opened their showroom in the 1960s on East 57th street.

Their earlier works focused on mythology and antiquities from across the globe, and the pair experimented with chemical reactions to create a patinated effect reminiscent of antiquities.

The LaVerne’s furniture pieces, including the “Marriage Whirl” table, have become highly sought after by collectors and enthusiasts of mid-century modern design. The intricate Eastern motif in the “Marriage Whirl” table depicts an ancient ceremony of great happiness. It was designed in patinated bronze and pewter with hand-painted polychrome enamels.

The LaVerne’s works were influential during the mid-20th century and continue to be admired and collected today for their artistic expression and innovative approach to furniture design.

Finn Juhl’s NV-45 Chair is highly regarded for its innovative design, craftsmanship, and contribution to Danish modernism.

Three Finn Juhl NV-45 Chairs commended a total of $41,580 at Clars Summer Modern + Contemporary Art + Design Auction.

Juhl initially began work on the NV-45 chair design in 1941, finalizing and first displaying the chair to the world at the annual Cabinetmakers’ Guild Exhibition in the fall of 1945. The NV-45 Chair is a striking and iconic piece of furniture. It features a sculptural wooden frame, with an exaggerated curved backrest, and organically shaped armrests.

The natural and sinuous form starkly contrasted to Juhl’s previous chair designs, which tended to be boxier. Called “the mother of all modern chairs” by the Japanese professor and design collector, Mr. Noritsugu Oda, the iconic NV-45 chair is one of Finn Juhl’s absolute masterpieces. The chair’s design reflects Juhl’s interest in organic forms and his ability to merge aesthetics with comfort. It continues to be sought after by collectors and design enthusiasts around the world, serving as a testament to Juhl’s enduring legacy in furniture design.

California has a lengthy history of woodworking and studio furniture design. One of the most renowned master woodworkers was Arthur Espenet Carpenter.

Born in 1920, Arthur Espenet Carpenter was a self-taught furniture maker. He began making wood turned bowls at his studio in San Francisco in the late 1940s to early 1950s. By the mid-1950s, he had expanded to build custom furniture. Carpenter found that production was so busy that he felt disconnected from the furniture building process. In 1957, he decided that it was time to relocate to Bolinas, California, where he custom built his own house for his family. At his Bolinas studio, Espenet would create unique one-of-a-kind pieces for his clients, as well as his most well-known iconic pieces, such as the Wishbone armchair.

Espenet valued function as well as form. While his furniture pieces appear quite sculptural, they were also designed with comfort and utility in mind. For example, the arm hits the armrest of the Wishbone chair at just the right angle. Clars is offering a suite of eight Wishbone chairs, including two armchairs, with an auction estimate of $20,000–$30,000 in our June 15th Design auction. Also to be offered is a stunning dining table having five butterfly inlays, estimated at $10,000–$15,000.

While there’s a certain simplicity or minimalism to Espenet’s designs, great attention is also paid to the finer details. An example of this point is the drop-down cabinet, which features a wood turned locking knob above well carved hinged supports, that sold at Clars for $5,937.

Another example of Espenet’s extraordianry attention to detail can be seen in a set of two nesting walnut low tables, which commanded $6,875 at auction. While seemingly simple, the tables feature exposed dovetail joinery.

The featured Arthur Espenet Carpenter jewelry box below, while quite functional, is also very sculptural. The contoured form has six bandsaw-carved drawers that feature prominently on the case.

Though Arthur Espenet Carpenter passed away in 2006, his legacy continues with his son, Tripp Carpenter, who learned woodworking as a child, and now is a professional woodworker in his own right.

Louis Comfort Tiffany was a prolific American designer whose career spanned from the 1870s–1920s. While he was most well known for his stained glass, he produced pieces in a variety of mediums, including pottery, metalwork, and lighting.

At the close of the 19th century, Louis Comfort Tiffany first developed Favrile glass. Deeply impressed from a recent trip to Europe in the 1860s, Tiffany drew inspiration from Roman and Syrian glass making. After much experimenting, Tiffany’s technique of ingraining color within the glass set it apart from other types of iridescent glass, resulting in the beautiful distinctive hues of Favrile glass.

Tiffany was also largely inspired by nature – he was captivated by the array of lush colors of flowers and plants. This attraction to color also contributed to the brilliant shades featured in Favrile glass objects.

Tiffany went on to win a grand prize at the 1900 Paris Exposition (the World’s Fair), for his Favrile glass. Later, he began producing lamps and large stained-glass Favrile pieces, cementing himself as one of the most influential figures in the Art Nouveau style through to the Arts and Crafts period.

Clars is celebrating International Women’s Day by highlighting the career of Greta Grossman, one of the leading female designers of the mid-20th Century.

Not only was Grossman a furniture designer, but she was also an architect and interior designer. Her career spanned forty years and her reach was global. Although originally based in Sweden, Greta’s work became incredibly popular in the United States, and in the 1940s she opened a shop in Beverly Hills. It was there that she worked for celebrity clients, such as Greta Garbo.

Toshiko Takaezu, renowned abstract Hawaiian ceramicist from the twentieth century, drew inspiration from her own cultural background as well as contemporary painting and sculpture.

Toshiko Takaezu (American/Japanese, 1922–2011) is best know for her ‘Closed forms’ which can be described as both sculptures and paintings all in one. Each form is unique and varies in shape, size, color and texture and captures a spirit that mirrors work of other postwar expressionist artists, like Joan Mitchell and Mark Rothko.

California has a long-standing tradition for metalwork. One of the most renowned metalworkers was a San Franciscan, Dirk Van Erp, who was prominent during the Arts and Crafts Period.

While he is most well-known for his table lamps, Van Erp also designed a variety of decorative arts including vases, humidors, jadinieres, and tea kettles, among others. Dirk Van Erp table lamps were typically executed in hand-hammered copper with a mica shade.

Also prized are Van Erps hammered copper vases. “Warty” vases are particularly collectible. They feature a hammered warty body, and often have a fine original red patina.

What makes a Dirk Van Erp piece more collectible? Collectors often prize the original patina, or finish. Another important factor is the date of the piece — which can be determined by taking a look at the stamped mark on the underside. Dirk Van Erp pieces are typically marked with an impressed windmill signature with text below (Van Erp was a Dutch American artisan).

The earliest signature reads, “D’ARCY GAW DIRK VAN ERP.” In 1909, Dirk joined forces with D’Arcy Gaw, an interior designer. In 1910, the duo began to use an impressed mark bearing both of their names. This mark was used until 1911. Many collectors consider works from this period to be of the best and most desirable quality.

In 1911, when their partnership dissolved, D’ARCY’s name was removed (chiseled off) from the stamp. At this stage, the stamp became known as a “closed-box” mark, with Dirk Van Erp’s name only. This was used between the years of 1911–1912, and the box was inadvertently damaged due to chiseling, to become an “open-box” mark.

In addition to the open box, it is thought that during and after the 1915 World’s Fair, Dirk Van Erp added “San Francisco,” which usually appears below the box. Van Erp exhibited at the Panama-Pacific International Exposition — the San Francisco World’s Fair that demonstrated to the world that the city had risen from the ashes, a mere nine years after the Great Fire. It was a world class exhibition that brought many of the world’s finest artists to California, and served as evidence that the San Francisco Bay Area was (and is) a world class destination bursting with talent.

This mark was used from 1915 through the death of Dirk Van Erp’s son, William, in 1977.