L’esprit du Bauhaus

2_bauhaus-meister_2The Bauhaus masters on the roof of the Bauhaus building in Dessau. From the left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer.

“The ultimate aim of all visual arts is the complete building”, Walter Gropius in the introduction to the Bauhaus manifesto.

For anyone interested in the history of design, the exhibition ‘L’Esprit du Bauhaus’ at the Musée des Arts Decoratifs is an absolute must-see. With over 900 works on view (furniture, objects, textiles, drawings and maquettes), the exhibition traces the ideology and development from 1919-1933 of the Bauhaus, the most important school of art, architecture and design of the 20th century. The exhibition is beautifully presented and clearly leads you through in a chronological pattern, explaining the development of the ideology from Early Modernism in Germany, developments in Vienna, the Bauhaus in Weimar and then Dessau, and on towards the school’s eventual dissolution in Berlin in 1933. It terminates with a wonderful tribute to the international legacy of the ideology and far-reaching influence of the Bauhaus on the next generation of designers (more below).

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Early Modernism in Germany. Deutsche Workbund,  founded in 1907 in Munich by Herman Muthesius,  admired mechanized production and the industrial aesthetic.

Founded in 1919 in Weimar in the interwar period following Germany’s defeat in WWI, Bauhaus director Walter Gropius’s aim was to create a universal environment in which the students and professors could work as part of a communal effort – artists alongside ceramicists, craftsmen, metalworkers and eventually manufacturers – to build a new world. This ideology was loosely inspired by the communities created by Medieval Guilds. The school’s mission was to revolutionize the way people think with the emergence of a new society and to do away with the boundaries between artistic disciplines by combining the fine and applied arts in its teaching program, far from the dogmatism of the 20th century Avant Garde movements. In this utopian world of communal living, the teachers and students lived together so that artistic practice and collaboration was continuous. There were workshops for metalwork, stained glass, ceramics, wall painting, photography and woodwork among others, and eventually in 1930 architecture.

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Stained glass window, Josef Albers, 1921. Created in the Bauhaus Stained Glass Workshop.

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Metal and woodwork workshops

rietvelt-and-breuer-chairs-1918-1923(Left to right) Militaire chaise, 1929 and Red-Blue chair 1918 by Gerrit Rietvelt;  Lattenstuhl chair, 1923 by Marcel Breuer

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Reclinable chair, 1928, Marcel Breuer

The 14 years of the Bauhaus’s existence were marked by raging conflicts and disputes due to the wide variety of opinions of the professors and the development of the school’s programs. In 1923 Gropius, recognizing industry as the defining force of the age, moved the focus of the program away from its founding expressionist tendencies towards collaborations with industrial manufacturers and formulated a new approach with the motto, ‘art and technology – a new unity’ . The ensuing conflict resulted in the resignation of Joseph Itten (expressionist painter, designer, teacher and part of the core of the Weimar Bauhaus) who was succeeded by Lazslo Moholy-Nagy (an artist influenced by Constructivism). 1923 also saw the important exhibition ‘Staatliches Bauhaus Ausstellung’ with its presentation of the house ‘Haus am Horn’ on which all the different workshops of the Bauhaus collaborated in the spirit of unity envisioned by Gropius. There is a wonderful old black and white film of the house with still images at the exhibition which is fascinating.
Outside influences played their part. In 1923 Theo van Duesburg (co-founder of the De Stijl movement with Piet Mondrian) was offering an independent course in Weimar which the Bauhaus students attended,  so spreading De Stil’s radical ideas of abstraction and simplification of forms.
Gropius left as director in 1928, to be succeeded by Hannes Meyer (who established the Architecture program) and finally by Mies van der Rohe in 1930. The Nazi party ordered the closure of the school in Dessau in 1932. Van der Rohe consequently moved it to Berlin but the school itself voted for its own dissolution in 1933 when the Gestapo made unreasonable demands in order to keep it open.
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‘Bottine tricolore’ by Pierre Hardy, various works by Fabio Viscogliosi, Fabien Cappello, Ligia Dias, Liam Gillick, Franck Scurti, dress by Courrèges, sink and toilet by Atelier van Lieshout.
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Works by Leonor Antunes, Bojan Sarcevic, Sebastien Bergne, Muller van Severen and Comme des Garçons.
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As you move into the final rooms of the exhibition you see the pieces chosen by French artist Mathieu Mercier to show the legacy of influence the Bauhaus has left on successive generations of artists and designers. The students and teachers emigrated all over the world and so spread the spirit and teachings of the Bauhaus. In 1938 MOMA in New York had an exhibition on the Bauhaus. Mercier has chosen 100 objects created by 40 international artists and designers (born mostly after 1960) arranged in such a way as to suggest a collective workshop. It creates a strong and impressive impact.
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I can’t recommend the exhibition highly enough!! I left feeling inspired, and in profound awe of the vision and commitment of Gropius and the other Bauhaus directors, teachers and students to build a new world.
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Wishing you all a great weekend.

Art Contemplating Design

 

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Photo still from Christie’s video

In a recent video produced by Christie’s, (click on photo above to watch this 3 minute video) the globally appreciated Chinese contemporary artist Wang Jianwei contemplates and questions the meaning and role of art.

His project above, entitled Distance, is a tower constructed from 407 abandoned cabinets.  He says, “It represents a utopia. We are turning art into a tool.”   This artwork strikes me as a political and social statement about our level of consciousness as a global society when it comes to collecting design in our lives. What does it say about a society that produces, consumes and discards furniture at such a high rate that one artist can find so many ‘abandoned’ cabinets?  What progress can be made and how can we change our relationship with the the objects in our life that will result in meaningful relationships and consequently less waste?

Investing in narratives that resonate with us on an instinctual level is where we start.

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The Global Design Theme of the week is traditional craft.

Below, are some photos from the upcoming  MoCA Tuscan ‘Meeting the Clouds Half Way‘ exhibition created by the architecture firm of Aranda\Lasch and  Terrol Dew Johnson, a Tohono O’odham  (Native Americans living primarily in the Sonoran Desert of southern Arizona and northwestern Mexico) basket weaver.

Using indigenous materials and traditional basket weaving techniques such as the coil this exhibition seeks to find parallels in the worlds of architecture and weaving and to create relevant contemporary design that utilizes traditional craft in an authentic way.

Mr. Dew Johnson referred to baskets as ‘essentially  something that holds conversation’, in an article by Ariela Gittlen for Artsy. These baskets aren’t functional in the traditional sense but successfully explore the complexities of interacting with design. This quote is a wonderful insight into the social and cultural value of functional creativity. It gives us a peak into the idea of phenomenology which addresses the meaning things have in our experience, notably, the significance of objects as they are experienced in our ‘life world.’

On a surface level they are quite beautiful and pleasing. Acknowledging them as a social practice bringing together groups of people and ultimately the witness and result of their work together supports the poetic idea of them their ultimate function being that of “holding conversations”.

 

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Photos courtesy of MoCA Tuscan and Artsy.

 

 

 

 

Art Elysées, Art & Design 2016 (October 20th-24th)

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A coffee table/ bar by Aldo Tura,  c1970. Image courtesy of Portuondo Gallery

This year is the 10th edition of ‘Art Elysées, Art & Design’. It takes place on the Champs Elysées between Place Clemenceau and Place de la Concorde at the same time as FIAC which is just a few steps away at the Grand Palais.  Indeed, it was originally conceived as a complementary, rather than alternative, fair to FIAC with a particular focus on French galleries.  The design section is relatively small with only 13 galleries exhibiting this year (as opposed to approximately 65 galleries in the Art section), but the variety of 20th century and contemporary design available is worth a visit if you’re in town.

Espace VIA (Valorzation of Innovation in Design) will have a stand at the Fair. It is a network platform and exhibitors venue set up in 1979 by CODIFAB (French Furniture Industries Development Committee) with the support of the Ministry of Industry. Its goal is to promote contemporary furniture and lighting design along with decorative objects in France and abroad.

Enjoy these preview images!

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Unique large mirror by Ado Chale composed of round agate slices inlaid with bone and brass details. Image courtesy of Portuondo Gallery

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Guéridon in aluminium and gold-leafed bronze by Audrey Galais. 2016. Limited edition of 8. Image courtesy of Galerie Scene Ouverte. This is the first time exhibiting at Design Elysées for this gallery.

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Small table in bronze, limited edition of 8. Laurence Bonnel. 2016. Image courtesy of Galerie Scene Ouverte.

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Hamada commode by Jean Luc Le Mounier in black inox, enamelled copper plaques, interior in citronnier de Ceylan wood. 2013. Limited edition of 8. Image courtesy of Galerie Scene Ouverte.

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A low table in resin de marcassite by Ado Chale, 1970s. Image courtesy of Maison Rapin

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‘Cerf Volant’ standing light in black and white lacquered metal and brass by Pierre Guariche. Edition Disderot. Image courtesy of Meubles et Lumieres.

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Standing light a contrepoids by Robert Mathieu, c 1955. Brass, black lacquered metal, perspex shade. Robert Mathieu Editions. Image courtesy of Meubles et Lumieres.

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Low table in brass and lacquered metal by Raphael, c 1950. Lacquered by Béka. This was a public commission for the offices of the Haut Commissariat de Sarrebruck. Image courtesy of Meubles et Lumieres.

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Large carpet by Mathieu Mategot, c 1960. Signed bottom right. Image courtesy of Meubles et Lumieres.

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Table lamp, Serge Mouille. Image courtesy of Galerie Avril

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Chair by Viggo Boesen. Image courtesy of Galerie Mikael Najjar

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Art Elysées, Art & Design 2016. 20-24th October 2016

Have a great weekend!

Themes and Thoughts about Collecting Design

What are some of the characteristics that make a great collector?

Access – cultural and monetary, sustained interest, superior ‘taste’, patronage, and desire for self expression through objects are few that come to mind.

As design has been formalized into a market category since the turn of the century it has gained a much wider audience as we start to internalize and adopt the idea of living with design.

3D printing, vintage, up-cycling and traditional craft and human experience are five large themes leading the way in the 21st century design industry. They all suggest a generation with a growing awareness of the impact creating objects has on our environment and suggest perhaps the importance of aligning our personal environments with the larger themes impacting the world.

Commissioning and acquiring design that contributes to themes and naratives we believe in creates ultimate luxury.

This week we share some recent exhibitions and collections that inspire us to think about the impact each of our acquisitions has on the world around us and also propose glorious objects that align with some global goals for the a better world.

Enjoy!

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Scraps | Fashion, Textiles and Creative Reuse at Cooper Hewitt, Smithsonian National Design Museum. This exhibition explores uses for textile waste. Furniture production is confronting the same issues. In Paris we found a young company that is part of the solution.  Maximum Paris partners with manufacturers who provide their waste material – excess dye  and left over raw materials for example. Maximum then designs products to incorporate these materials thereby eliminating waste through up-cycling. Her are three currently available projects.

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This perhaps doesn’t qualify as collectible design the way we have recently come to know it. But I would argue that this furniture has a very important place in the evolution of design and material culture. It is responding to a global issue.

If you’re looking for more exclusive design with an equally powerful message, Physical, a collection presented last spring in Milan by Kiki and Joost and presented by Nilufar at PAD London this week is an exciting project.20160519-_dsc0927 “We wanted to make physical things with our hands, with materials that you can touch and experience,” says Kiki. “We see how babies experience physics by playing with water and other things, and we were very inspired by this. It brings you back to the most important things in life,” she smiles. As reported in the Telegraph

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Joost van Bleiswijk’s Meccano-inspired constructions with every single component handmade.

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In Paris, preserving craft a major initiative for one of the most influential galleries: In 2015  Carpenters Workshop Gallery, opened Carpenters Workshop | Roissy, a 8,000 m2 space dedicated to artistic research and development, bringing together the elite of artisans, an homage to the heritage to French ‘Arts Décoratifs’. Vincenzo de Cotiis’ Pop Nouveau is the gallery’s present exhibition that is part of this project,  explores two themes: a rebellion against stereotypes and the liberation from mechanized forms using salvaged and reclaimed materials.

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Side table

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Large hanging wall cabinet

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Coffee table

These are just a few of the projects and themes that design is tackling. Every couple of weeks we’ll present a company or designer whose works is forging links between our strong global themes and our individual instincts for aesthetic expression.  Is it collectible? Let’s discuss as we go!

Have a great weekend!

 

 

 

 

 

 

The work of René-Jean Caillette, a pioneer in modern French design

5-set-of-10-chairs-62-charron-edition-1962Set of 10 chairs, model ’62’. Edition Charron, 1962. Chromed metal, foam and fabric. Photo courtesy of Galerie Pascal Cuisinier.

“I consider design to be wanted, determined, thoughtful and assertive”, René-Jean Caillette (1919-2005)

René-Jean Caillette, the son of an ebeniste and graduate in 1937 of the Ecole Nationale Supérieure des Arts Appliqués, was a pioneer of modern French design. With a focus on simplicity of line and functionality, and with the aim to make modern design accessible to everyone, Caillette’s goal was to create quality mass production furniture. One of his aims was to create signed furniture which would be sold at the same price in all of France. He was one of the founders of ACMC (l’Association des Créateurs de Mobilier de Série) which defended the rights of this budding movement. He experimented with new materials which became available at the time such as plywood, stainless steel, rattan and perspex. His work is characterized by clean, taut lines and rigorous shapes.

2-sylvie-table-charron-edition-1961Sylvie table, Charron edition, 1961. Rio rosewood and chromed metal. This model was presented at the Salon des Arts Ménagers in 1961. Photo courtesy of Galerie Pascal Cuisinier.

Caillette was very active in design circles in Paris in the 1940s and 50s. In 1949 he organized a prestigious exhibition between the rue du Faubourg Saint Honoré and the rue Royale in Paris. It gathered together young designers who became known as the group Saint Honoré. This movement created solidarity and cohesion and created a focus for the designers. And in 1954, together with George Charron, a French furniture manufacturer, Caillette formed ‘Groupe 4’ with fellow designers Alain Richard, Genevieve Dangles and Joseph André Motte.

IMG_3529Coccinelle stacking chairs for Steiner, 1957

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Two standing lights, model B10, edition Disderot, 1958. White lacquered metal
Photo courtesy of Artefact Design
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4-diamante-chair-steiner-edition-1961One of a pair of ‘Diamant’ chairs, design 1958/Steiner edition 1961. Plywood, Lacquered and chromed metal. This chair received the Gold Medal at the Brussels Universal Exhibition, French Pavilion in 1958.
Photo courtesy of Galerie Pascal Cuisinier
The ‘Diamant’ Chair’ (above), for which Caillette received the silver medal at the Milan Triennale in 1962, is one of his best known pieces. “It is the most pure and the most easy to fabricate of my models in molded plywood. I designed it with a piece of cardboard, telling myself that if the cardboard could fold, then so could wood.” Sober and elegant, it remains one of the signature pieces of French post-war design.
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This two-seater sofa in molded and lacquered plywood and leather was presented at the Salon des Arts Ménagers in 1966. Charron edition. Unique piece. Photo courtesy of Galerie Pascal Cuisinier.
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When Caillette died in 2005 he left his substantial body of work to the ‘Petits Freres des Pauvres’ Association. His work regained recognition as being at the forefront of French historic design when it was offered for sale at Tajan auction house in Paris in 2006.
Don’t miss the wonderful exhibition at Galerie Pascal Cuisinier. Runs through to 22 October 2016.
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Wishing you all a great weekend!

Exciting finds at Artcurial’s 20th Century Interiors sale

 

Artcurial has a very exciting and accessible two part sale coming up on the 4th of October.  You have lots of time to browse and make careful choices!  There are over 500 lots just in the day sale! We’ve scouted a few great items for you and have included links to the auction house’s website.

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Mart Stam’s Chaise B43 (lot 204) in molded plywood and tubular steel.

The estimate is  250 – 300 €

This is an incredibly interesting estimate on a chair that arguably launched Modern design! Ludwig Mies Van der Rohe is known to have learned about this chair and told Marcel Breuer, leading to both Mies Vander Rohe and Breuer making their own now iconic versions of tubular steel seating. The chair above it where it started! Evolutionary!

 

 

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A beautiful little ceramic jar by Piero Fornasetti (lot 326)

Estimation 300 – 400 €

It’s worth clicking on the link above and viewing the jar on the Artcurial website where you can zoom in and appreciate the detail of this drawn neoclassical architecture work on ceramic. The lid is original and undamaged.

 

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Daum Nécessaire de bureau (lot 85) is amber-tinted crystal.

Estimation 200 – 250 €

It’s a group composed of a pen holder, a vessel for cigarettes on the left and the middle vessel is a little ash tray.  This elegant set could be used for fresh flowers, more pens, paperclips etc. on your desk today.
H.: 14 cm; 11 cm; 7,5 cm

 

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This 1950s Danish teak table and four chairs by Hans Olsen (Lot 593) is a set we have found several times for our city clients. It’s an elegant and very practical dining solution for apartments.

Estimation 1 500 – 2 000 €

Stamped by Editor: Frem Møbelfabrik
Table : 75 x 106 cm
Chaises : 715 x 48 x 42 cm

 

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This elegant pair of Model 2564-1950 standing lamps in brass, painted metal and wood is (lot 627) by Josef Frank, an important Modernist architect and founding member of the Vienna Werkbund.

Estimation 1 000 – 1 500 €

Stamped by Editor: Édition Svenskt Tenn
h: 152 w: 42 cm

 

screen-shot-2016-09-22-at-11-50-35-pm  A French Silvered Champagne Bucket (Lot 250). We included this as inspiration for finding vintage gifts this year as we slowly head toward the holiday season!

Estimation 500 – 600 €

H.: 19,8 cm

Not to miss!

Roger Tallon – Design in Motion

The French industrial designer left his complete archives to the Musée des Arts Décoratifs who have organized a wonderful tribute to his important work, which includes the TGV and the Téléavia P111 portable television, which we have been asked to hunt down more than once.  This object’s cult following lives on today. This exhibition includes drawings and models of each design.

avia_24-hd-7dec1-resp193Portable television set P111, Téléavia, 1963
Roger Tallon’s archives
© ADAGP, Paris / photo : Les Arts Décoratifs, Paris
p.s. This Reversible Chair model TS from 1978 is some of Roger Tallon’s work. It is lot 496 in the Arterial Sale mentioned above. The estimate is 400-500 Euros!
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‘Art & Design sans Frontières’ at Tajan, Paris

art-and-design-without-boundaries-selling-exhibition-at-ader-picard-tajan-paris‘Art & Design without Boundaries’ at Tajan, Paris

French auction house, Tajan is currently hosting the exhibition ‘Art & Design without boundaries’ as part of their program ‘The Artist and his Supporters’ which launched in 2004. The program, created by Rodica Seward (Tajan’s President) and Jean-Jacques Wattel (expert in decorative art and design at Tajan), was founded to promote innovative art and design and has evolved into a separate entity called the Tajan ArtStudio.

The current expo is a ‘selling exhibition’ or ‘systeme de gallerie’ with pieces coming directly from the artists and designers with a price tag – not the secondary market as one assumes at an auction house. There are no guiding estimates – interested buyers contact the auction house direct with price enquiries. There are four ‘selling exhibitions’ per year.
Exploring the dialogue between contemporary art and design, in this current exhibition the work of several designers is displayed in conjunction with the work of contemporary French artist, François Rouan.
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Wax painting and oil on woven canvas by François Rouan, 2013; Bronze Age chaise longue, 2014, by Frank Tjepkema. Limited edition of 3 + 1 AP
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‘Bronze Age’ chair, 2016, by Frank Tjepkema. Limited edition of 8 + 2 AP.
“For this project I wanted to create something totally opposite to the technology driven trends based on the emergence of new digital tools such as 3D printing. I like the idea that bronze is precious and is therefor implicitly sustainable. It is either preserved or remelted but never discarded. Who knows, maybe these pieces contain a couple of remelted ancient bronze swords !”. Frank Tjepkema
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Close up of ‘Chained Up steel’ table by Barberini & Gunnell
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 Wax painting and oil on woven canvas, 2016 by Françcois Rouan; ‘Cascata’ table in crystal glass, 2016 by Barberini & Gunnell. Limited edition of 10 + 2AP
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Wax painting and oil on woven canvas, 2015 by François Rouan; ‘Shiqule Lan Se Nuhai’ enamelled ceramic vase, 2015, by Marcel Wanders (limited edition of 8); bench in carbon fibre, 2015 by Il Hoon Roh 
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‘Styrene’ suspension light in polystyrene, 2002, by Paul Cocksedge.  Unique piece
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‘Kon Tiki’ stool, 2016 in aluminium by Misha Kahn. Limited edition of 8
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Table in aluminum with glass top and removable legs, 2016. Il Hoon Roh
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Screen in carbon and fibre optiques, 2016, Il Hoon Roh
We had the opportunity to go up to the first floor and see this spectacular screen by Il Hoon Roh. And look at that fabulous 1930s floor!! The Tajan premises were originally the headquarters of a French bank.
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37 rue des Mathurins,
75008 Paris
Wishing you all a very happy weekend!

Diego Giacometti Collection at Artcurial

 

 

 

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Pair of tabourets … a la souris, circa 1960.

A 20 Year Friendship with Diego Giacometti: Brollo Collection

14 September 2016 at Artcurial Paris

This collection is the reflection of a friendship – a shared passion for Italian culture, language, values and a love for raw material, says Frederic Brollo speaking of his parents relationship with Diego Giacometti. He says, “When my parents bought their first work by Diego in 1968, they were in love with the artists work, of course, but they were also moved by a special affection for Diego as an individual whom they knew so well.  Frederic, who inherited and added to the collection was enchanted by his plaster mock-ups as a teenager and received many of them as gifts from the designer. They are included in this sale as well.

The prices on these objects, many well north of 100,000 Euros reflect the well recognized value of Giacometti’s work. What grabbed our attention this time was learning that these pieces are being seen for the first time and where for example many of these pieces my look familiar they are in fact individual commissions. Giacometti made tables with different animals and in different sizes to the clients request.  This stands in sharp contrast to contemporary limited edition collectible design.

This pair of chairs for example (above) was first conceived with leather seats. However, the lucky Brollo’s already had two pairs of chairs from the designer and requested that he place granite one the seats of this pair instead so they could be used as little elegant tables for guests to place their coup de champagne! We admire this type of relationship between the designer and the collector… almost a collaboration. It is a unique expression of creativity. Merging of two minds if you will. Supporting creativity that touches you is the sign of a true collector!

Hope you enjoy these highlights and if you are in Paris this exhibition is well worth the visit!

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Detail of above tabourets

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Greek table with bird perched on one brace. Plaster models in the background.

 

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This is a preparatory sketch of the current exhibition by Hubert Le Gall.

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Pair of Photophores, circa 1976

 

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One of a pair of tabourets, circa 1960

 

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Detail of above tabouret

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One of a pair of Lion-head Fauteuils

 

Paris Biennale 2016 sneak peek!

Screen Shot 2016-08-30 at 22.06.30Desk (c1957) in wood, parchment and bronze by Marc du Plantier. Galerie Jacques Lacoste, Paris.

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The 2016 Paris Biennale opens next week (10-18 September). This year there are 125 participating galleries (showing Fine and Decorative Art along with jewellery), a 36% increase from 2014 as the Biennale has joined forces with Paris Tableau, the international fair specializing in European Old Masters. The Biennale will become a yearly event starting from 2017.

Scenography this year is by set designer Natalie Crinière, and we’re particularly looking forward to the special exhibition ‘Tribute to the Mobilier National: Tradition et Audace’. Enjoy these few preview images!
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Screen Shot 2016-08-31 at 13.53.23180° Swivel chair (c1934) in solid mahogany by André Sornay. Seat and back upholstered. Galerie Marcelpoil, Paris.

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Screen Shot 2016-08-30 at 21.57.38Table by André Arbus (c1964). Patinated bronze base and marble marquetry top. Galerie Chastel-Maréchal, Paris.

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Pairs of chairs by André ArbusPair of armchairs (c1949) by André Arbus in black lacquered wood and leather. Female busts in bronze on the armrests by Vadim Androusov. Galerie Yves et Victor Gastou, Paris. 

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Desk and chair by Maxime OldMahogany and glass desk and chair (c1952) by Maxime Old. This was Mr Old’s personal desk, the model of which was presented at the Salon des Artistes Decorateurs in 1952. Galerie Yves et Victor Gastou, Paris.

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Screen Shot 2016-08-31 at 13.45.54Game table and four chairs (c1923) created for the Grand Hotel de Tours by Pierre Chareau. Mahogany, forged iron, beech, and brown leather. Galerie Doria, Paris.

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Screen Shot 2016-08-31 at 13.37.10 Bench Japon, c 1966, by Charlotte Perriand, Galerie Downtown, Paris.

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Screen Shot 2016-09-02 at 09.27.06‘La Religieuse SN31’ standing light by Pierre Chareau. The model was created in 1923, this light was made in 1928. Galerie Marcilhac, Paris.

La Biennale Paris, Grand Palais, Avenue Winston Churchill, 75008 Paris

Wishing you all a great weekend!

Kossi Aguessy

jord

Jord Armchair in Carrara marble

Born in Togo, raised in the New York, studied in London and worked in Paris, a self proclaimed artist with an engineering and architecture degree, Kossi Aguessy now lives and works in London and Toulouse.

His influence is global.  We are attracted to his perspective and attitude toward creation.  He says, “I am not a designer but a describer. I’m not a creator but a messenger – a bridge, a piece of a puzzle called evolution that started before me and shall continue long after.”

Damn chair

Damn Chair

 

Aguessy’s design aesthetic is inspired by antique cultures, and informed by contemporary technology.  He says, “The first question I ask myself at the very beginning of the design process is if this novelty is needed and what will be the human and environmental impact of it.  If the answer happens to be negative, I will not complete the process.”

Through his own studio – Aguessy Industry, established in 2004 – he charges himself, in Gandhi’s words, to “be the change you wish to see”. (source Design Indiaba: http://bit.ly/2bFNLYB)

Indeed his beliefs and methods have lead to very successful projects and collaborations leading to his inclusion last year in Vitra’s “Making Africa – A Continent of Contemporary Design” exhibition. His work has also included projects for brands such as Yves Saint Laurent, Stella McCartney and Cartier.

 

useless tool chair

Useless Tool Chair in Stainless Steel, Carbon and Nextel (Model acquired by the MoMA)

He recently began work with Galerie Vallois in Paris who will represent him at Art Paris Art Fair in Spring 2017 where he will present his Useless Chair (above), which is already in the collection of MoMA.

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L147 Table Lamp in Stainless Steel, Aluminum and Glass

 

Infinity Chair

Infinity Armchair in Aluminum

 

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Damn Chair in Laser Cut Aluminum (Model acquired by the Museum of Art and Design)

 

jord oak centre george pompidou museum

Jord Armchair in Oak