Paris 1925: Chambre De Monsieur — French Art Deco Bedroom Print, Paris 1925

The Chambre de Monsieur is the most spare plates in the series a gentleman's private chamber organized around negative space and restrained color. The walls are high and white, the furniture deliberately placed, and the room's character is carried almost entirely by four narrow vertical bands of sage green curtains that frame the windows and a central bookcase alcove. Against this neutral field, an amber fur bedspread and a sculpted ochre chaise lounge introduce luxury through material quality and form.

Why We Picked It
The sage green curtains are the room's visual anchor — four narrow verticals that organize the white wall plane without competing with the expanse around them. The chaise lounge in the foreground is particularly refined: low-slung, with a curved profile and dark lacquered frame, it reads as a sculptural object as much as a piece of furniture. The writing desk behind it — dark lacquer, clean-lined, entirely without surface ornament — represents what Art Deco looked like when it exercised maximum restraint: luxury defined by proportion and material rather than decoration. The tent-like ceiling, rendered with light geometric lines, adds height without drama.

Notable Context
The chambre de monsieur — a gentleman's private room separate from shared or feminine spaces — was a specifically aristocratic and diplomatic interior type, reflecting a social world where sleeping, dressing, and private study occupied architecturally distinct rooms. In Art Deco terms, the masculine interior was being redefined away from the Victorian study's accumulated weight toward a modernist restraint that still communicated luxury through material selection. The fur bedspread, the built-in bookshelves, and the chaise together describe a man of affairs whose comfort is expressed through space and quality rather than accumulation. Of the five plates, this room is the most forward-looking — its proportions and restraint read closer to the modernism of the 1930s than to the ornamental register more typically associated with the 1925 Exposition.