Furniture restoration – our Q & A with Philippe Bayol of Arz Men, ebenistes and restorers

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The ‘After’ image! An American desk in elm, 1990s. Revarnished and tinted with vegetable based tint

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The ‘before’ image!

This week we spoke with Philippe Bayol of Arz Men Ebenistes and Restorers about the most frequent projects he works on and the common problems he encounters. Philippe is an ébéniste by trade who specialised in the restoration of 20th century furniture 14 years ago. Before that he worked for 10 years mainly on 18th and 19th century furniture.

How did you start working in the restoration field?                                                                                                                 Having worked with 18th and 19th century furniture for several years, I had the opportunity to work with a gallerist who specialized in 20th century pieces. This was a new period for me and an enriching discovery and definitely gave me a taste for more. The basic techniques are the same but the materials are different. I now do restoration work for about fifteen 20th century galleries, five for whom I principally work.

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Commode, ash veneer by Gio Ponti, restored by Philippe

What are some common issues you face when it comes to restoring furniture?                                                                                     One of the most frequent restoration projects I work on with 20th century furniture are damages to the wood veneer and the finishes. The veneers on these later pieces are very different from those of 18th and 19th century furniture. The main problem is often the lack of thickness of the veneer which is far thinner and more delicate than that on older pieces. In some instances it is as thin as a cigarette paper. In order to repair the veneer, we need to make sure the substrate beneath is flat (in case that has caused a problem) and the veneer is then very very carefully put in place with a very thin coat of vegetable-based glue. For the finishes on 20th century pieces, these are in 80% of the cases varnish and 20% wax-based finish. These can obviously be gently stripped off and reapplied but the technique has to be very carefully handled and done with a great deal of patience.

Apart from varnish finishes, I also do a fair amount of restoration relacquering of 20th century pieces, particularly French from the 1970s when it was very in mode. The process of relacquering is long as it is done in stages. I start by correctly removing the old lacquer (if the whole piece needs entirely relacquering), fill in any faults in the surface and sand the surface, apply the primer (up to 6 layers, each of which must be sanded), and then apply 6-8 coats of lacquer (with sometimes a light sanding to remove any dust particles). Then in order to get a brilliant surface result I sand the surface with water added to the sanding paper. I use paper with several grain strengths – 360, 600, 1000, 2000, 3000 and 4000. And finally, the last stage is the polishing to get a brilliant shine.  The whole process can take from 30 to 200 hours, depending on the size of the piece.

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What kind of restoration problems are the most difficult to deal with?                                                                                                   There is no one specific problem, but the techniques and aesthetics are very different for pieces depending on where they come from. The region of origin means that pieces are often made of very different woods and consequently need to be treated differently. Scandinavian furniture designers used a lot of teak, mahogany and rosewood, American designers liked American walnut and elm, and a lot of French and Italian pieces are made of European walnut, ash, oak and sycamore. Actually now that I think of it, there is a type of restoration job that is often very difficult and can take a long time to complete. Sometimes people bring me pieces which they have tried to restore themselves at home and they are brought to me when they have either gone too far in their efforts or have simply made mistakes.  Then the damage has to be undone before the work can start! Im always very happy to help as people can be distraught when they realize they have made the problem worse, but there is almost always a solution! Restoring furniture is not like painting a wall and requires real training and skill so save yourself the heartache and expense of having to have work undone and started again by finding a real restorer.

What is a particularly satisfying or interesting restoration job on which you have worked?                                      Several pieces over the years have made a strong impression on me but its true that certain Italian ‘meubles d’architects’ have utterly seduced me! In their conception and design, and once restored, they are spectacular. I had the wonderful opportunity once to restore a 19th century Russian piece which was hugely satisfying. Another project which fascinated me was working on a pair of armchairs by the legendary Carlo Bugatti. The marquetry and the mix of materials was absolutely breathtaking. I restored the marquetry and the wood structure and although it was delicate and painstaking work, Bugatti’s technical skill was so remarkable that every moment spent on the chairs was a marvel for me.

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Above you see an old very poorly executed restoration on the marquetry of one of the feet. The marquetry has been half covered and this is the state in which Philippe received the chair.

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 Working on the marquetry and wood structure of the Bugatti chair

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And here’s the chair back in top condition!

Can you give us some tips on preserving the condition of furniture.                                                                                                         20th century furniture suffers, in the same way as 18th and 19th century works, from temperature variations, particularly in homes which are too well heated or the atmosphere is too dry. Exposure to the sunlight is equally harmful and can lead to discoloration and to the detachment of and other damage to, the veneer. In the case of sun damage, 80% of problems are simply a discoloration of the varnish. In these cases we simply carefully remove the varnish, polish the wood and reapply the varnish. However sometimes the decoloration has extended to the wood itself so we would apply a very thin coat of a vegetable based polish in very slow painstaking movements so as to create a totally uniform color and then reapply the varnish. So make sure the room in which you place your pieces is not overheated or too dry and that the pieces are not subjected to direct sunlight for protracted lengths of time. These are the main problems you need to be aware of which can lead to condition problems for your pieces, and with which I am frequently faced!

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Pair of low tables by Guy Lefevre, 1970s, relacquered

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Arz Man, Ave Jean Jaurès, 94100 Saint-Maur-des-Fossès, France

 

Read our Q & A with Béatrice Saint Laurent of BSL Gallery Paris; and a preview of some of the pieces galleries will be showing at PAD Paris 2016

Enjoy our Q & A with the enigmatic Beatrice Saint Laurent of  Galerie BSL, Paris:

What is your philosophy?

Wonder is the keyword to me: I want to be surprised, amazed, enchanted – and why not disturbed! This is the reason why the artists and designers that I work with each have a unique, strong and intriguing creative universe. Often the viewer wonders about the objects, about what they are made of, about how they are made as well. Design Art is questioning and involves a dialogue which is part of  what makes its wealth and innovative quality.

The works shown by the gallery have to instill the unexpected into the heart of the functional. Carol Egan’s work is a very good example of this. Her minimalistic design baffles reason by twisting wood up to 180 degrees. The viewer is amazed by what appears to be the impossible, a 90 or 180 degree twist contortion of a wooden plank. What seems to be a miraculous bending technique is in fact obtained by the ancient art of wood-carving.

 

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Sculptural hand-carved walnut  180° wall ‘Twist’ console, 2012 by Carol Egan

Another example is Nacho Carbonell’s work, which I first discovered at Design Miami/Basel in 2009, the year he was named ‘Designer of the Future’  in Basel. I was struck at once by the way he experimented with shapes and textures to produce unique, handmade creations that are actually more creatures than mere pieces of furniture. Since 2011 Galerie BSL has developed two collections with him, ‘Luciferase’ and ‘Time Is A Treasure’, that testify to his strong narrative and visual language which is always recognizable in his work. This is to me the mark of true, unique artistic talent.

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Luciferase VI light 2015 by Nacho Carbonell. Epoxy resin, colored pigment, sand, silicone, steel structure, LEDs. Unique piece.

What trends do you see in contemporary design in France at the moment?

I would say one of the main tendencies is a revival of the Memphis style, with designers working in the line of Ettore Sottsass and Michele de Lucchi, with a love for colors, graphic lines, and liveliness! Among the designers working with us, Charles Kalpakian represents this tendency very well. His ‘MOON’ armchairs are contemporary, while having a vintage twist. Their unusual high back and width make them particularly comfortable. While being a reinterpretation of some classics from the 50’s, they also refer to the Memphis’ 80’s with their soft, graphic and flexible lines, as well as their color combinations. Charles Kalpakian’s ‘Cinétisme’ wall cabinets which we presented at PAD London last October are also unexpected, and immediately eye-catching in the true sense of the word.

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Carlton bookcase (above), 1981, by Ettore Sottsass. Image courtesy of Dezeen

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Kineticism III Wall cabinet in lacquered wood with mirrors, 2015, by Charles Kalpakian

Do you have a favorite piece that you could share with us?

‘Calligraphie III’ is Taher Chemirik’s last screen, and the first to mix steel and brass. It will be shown on March 9-12, 2016 at Design Shangai, in the ‘Collectibles Section’ curated by Jérôme Sans. Taher Chemirik was a renowned jewelry artist when we decided to work together and I was a total fan of his jewelry signature designs. To me, he is a poet of the object – whatever the scale may be. I proposed him to develop together his idea of « Bijoux d’Intérieur » – ‘Interior Treasures’ : pieces like jewelry for the home, possibly of large dimensions, involving materials that defy time and in line with the tradition of the decorative arts such as brass, wood, and rare hard stones. The first pieces were exhibited at Design Miami in 2012. The challenge with most of these pieces lies in their dimensions. His ‘Calligraphy’ III screen for instance is 450 wide and 230 high and unwinds like a swirl of flat bands in a magical structure defying gravity. One of these screens has entered the Museum of Arts and Design permanent collection in NY.

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Calligraphe III screen in brass and steel, 2015, by Taher Chemirik

Look out for Galerie BSL at PAD Paris Fair 2016 at the end of this month (31 March-3 April)

All images courtesy of Galerie BSL,  unless otherwise stated.

BSL Galerie, 10 rue Bonaparte, 75006 Paris

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Sneak preview of PAD Paris Fair 2016

This year is the 20th anniversary of PAD Paris  which takes place in the beautiful setting of the Jardins des Tuileries.  There will be 55 galleries participating, the majority of which are French with a small number of international exhibitors from the UK, Europe and the States.  Its a jewel of a Fair and one we always look forward to. Here are a few images of what you’ll be seeing this year.

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‘Toute Suite’ from The French Series by Glithero, 2015.  Photo courtesy of Fumi Gallery, London.

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French curved bureau in chromed metal and Saint Gobain glass, 1935-37. Photo courtesy of Galerie Jacques Lacoste, Paris

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Refectory table, c 1939 by Jean Prouve. Image courtesy of Downtown Gallery, Paris

Uniacke Gallery

Danish black leather and stained mahogany low wingback armchair, c 1935,  by Frits Henningsen. Image courtesy of Rose Uniacke, London                            

 g_Tuileries16PADParis04bChastel‘Pantographe’ hexagonal table lamp in brass, 1972 by Yonel Lebovici. Image courtesy of Galerie Chastel-Marechal, Paris

22a_Ny-1500x1200Pair of Danish rosewood and leather armchairs and footstool, 1956 by Kofoed Larsen for Christensen & Larsen. Image courtesy of Modernity Gallery, Stockholm

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Signed and numbered ‘Rainbow’ handwoven carpet designed by street artist JonOne. Manufactured by Boccara. Image courtesy of Boccara, Paris

Contact us for a complimentary (entrance ticket not included) private guided tour of PAD Paris Fair, 31 March-3 April 2016. Numbers are limited but there still are a few spots left.  Looking forward to seeing you there!

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Inquiries : contact@arte-case.com

Brazilian Design in Paris!

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Above and below: new works by Zanini de Zanine to be shown in Paris in March.

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Brazilian 20th century design is an established category for collectors that is increasing in appeal as these collectors and more and more enthusiasts look for pieces that are minimal and organic but perhaps not as obvious as  the names that have lead the market for 20th century design.

This past week Artsy published an article on the upcoming 12th edition of the Sao-Paolo International Art fair, which will feature a section on design for the the first time this year. They report that each of the 23 design galleries represented are from Brazil. There is a rich history of design that is intertwined with the movements in the United States and Europe while remaining true to its roots thus revealing a group of work with a unified narrative about the development of Brazilian form.  From 20th century icons such as Oscar Niemeyer to the Campana brothers, a contemporary duo who have exhibited in museums such as MoMA in NY and the Musée des  Arts Décoratifs in Paris Brazilian design brings a sensual aspect to Modernism.

Julie Lasky (Deputy Editor of the New York Times Home section and writes the column The Details in the NYT on new design) also reported on Brazilian design this week for the Wall Street Journal. In it she identifies the growth of dealers such as Espasso (NY, LA, London and soon Miami) and demand for this narrative calling Brazilian design “A sexier take on Eames.”

A book on entitled “Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture,” by Aric Chen with an introduction by Zesty Meyers is due for release from Monacelli Press in March. The book is co-published by R & Company (co-founded by Meyers) who have been dedicated to sourcing Brazilian design for over 10 years now.

In Paris James Gallery, located in the Marais has been gaining recognition for their promotion of Brazilian design. Their next exhibition, which opens in late March, presents exciting new work by  Zanini de Zanine, grandson of Jose Zanine Caldas the great Brazilian architect. Two of these works are pictured above.

 

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Chaise Longue, 1947, Joaquin Tenreiro, Jacaranda, Woven Cane, 183cm x 71cm x 75cm

James Galley in Paris often presents this type of masterpiece. This work is really worth experiencing in person.

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Brass Sushi Buffet, 2011, Humberto and Fernando Campana, 55 × 200 × 40 cm

“Translating the Brazilian identity into design is the most important challenge for us,” Humberto told the Guardian, reflecting on their practice. Known for the color and playfulness of their work that reveals stories of Brazilian culture.

Alta chair and ottoman, 1970s, by Oscar Niemeyer copy

This is a photo you might have seen if you have been with us for a while. It’s a sumptuous Niemeyer Alto armchair and ottoman that we sourced to place in a private California home. (This is the before photo.)

Next time you’re in Paris we invite you to book a meeting with us about your design goals!  We listen and can guide you to the most exciting design: arranging gallery visits, meetings with designers and focused tour of Les Puces.

We look forward to sharing our knowledge with you!

Contemporary Light Sculptures

Created in limited editions and sometimes as unique pieces realized by commission, these light sculptures by contemporary designers are expressive, powerful, provocative  and beautiful as art objects. The designers have used the traditional idea of a suspension light and a table light as a canvas to explore ideas and space and therefore calling us to question and expand our ideas about the role that lighting can occupy in an interior.

The result is equal parts refined function and emotional experience.

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 Inverted Suspension Light by Niamh Barry, 2015

This unique light sculpture is hand-made of patinated and scored hand-formed bronze, glass opal tiles, and powered by dimmable LEDs.  Inspired by movement and the drawn line, it encourages the viewer’s own movement so as to experience the piece’s multifaceted shapes.

Barry’s work is the story is about ‘the line’ and the journey it takes from its inception in the early sketches, through to the finished piece.

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Knotted light also by Niamh Barry, is a unique mirror polished hand-formed solid bronze Opal Glass Mosaic with LEDS

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Detail of Knotted Table light

 

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Flight, a third example by Niamh Barry,2015, Mirro polished hand-formed solid bronze opal glass mosaic

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Detail of Flight Suspension light

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Barometro lamps by Giacomo Ravagli, 2011, copper and marble sculptures dressed up as lamps

in images above and below.

Hand-crafted, labor-intensive, massive, rare marble, polished surfaces, precise … these lamps seem to represent man’s mastery over and taming of nature.

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Volume (Yellow) by Cecilie Bendixen, 2015 is a sound absorbing pendant light. This piece represents a hybrid form of design, involving textile art, sculpture and architecture. (Diameter 80 cm, height adjustable)

It’s massive form suspended by and trailing tiny threads creates the illusion of a floating orb.

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Detail of the folds that increase the sound absorbing properties of this textile.

Knotted, Inverted and Flight photos courtesy of Todd Merrill Gallery

Barometro photos courtesy of the designer via Dezeen

Volume (Yellow) photos courtesy of Galerie Maria Wettergren

 

Spotlight on Rue Bonaparte, Paris

This week we’re shining our spotlight on rue Bonaparte in Paris! We want to share with you just a few among our favorite galleries in this historic heart of Saint Germain des Pres.

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Table by Claude-Victor Boeltz, circa 1970, in bronze, amethyst and glass. Image courtesy of Galerie Yves Gastou

Galerie Yves Gastou specialises in 20th century and contemporary design and its always exciting to visit the gallery. We wrote about their wonderful ‘Hommage to Philippe Hiquilly’ exhibition in a previous post. The gallery first opened with an exhibition of the work of Ettore Sottsass in 1985.  Sottssas also designed the gallery and the distinctive ‘terrazzo’ front (marble and cement). Gastou shows an impressive range of design from the 1940s-1980s along with contemporary pieces. Eclectic and inspiring, we love visiting here!

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Console table with two levels, after a drawing from the 1970s by Philippe Hiquilly. Base in hammered brass and tops in fossilized wood. Image courtesy of Galerie Yves Gastou.

GYG-Kuijpers-Exposition-2-1The work of Gerard Kuipjers in Galerie Gastou. Image courtesy of Galerie Gastou.

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Galerie BSL is resolutely contemporary in the design they show. Its a jewel of a gallery and they show the work of a diverse range of designers like Carol Egan (which we love), along with pieces by Noé Duchaufour-Lawrance and Nacho Carbonnel among others.

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Sand cast silicone bronze upholstered stool by Carol Egan. Image courtesy of Galerie BSL

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‘Naturoscopie I’ carbon fiber, aluminium and copper shelf, 2012 by Noé Duchaufour-Lawrance. Image courtesy of Galerie BSL

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Jean-Jacques Dutko is the world renowned specialist on the work of Eugene Printz. Along with exquisite Art Deco pieces, Galerie Dutko also shows modern and contemporary design so that we find a wonderful and original mixture of pieces whenever we visit. The elegant forms of Eric Schmitt’s beautiful bronze guéridons and glass vases mingle with the stark and minimalist work of Bruno Romeda…..and you spy a beautiful Art Deco piece a few steps away. There is a sense of drama that is irresistible! They also have a gallery on Ile Saint Louis.

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Bureau in walnut by Eugene Printz. Image courtesy of Galerie Dutko

Screen Shot 2016-02-04 at 18.24.39Guéridons FUJI and STROMBOLI, 2012, Eric Schmitt. Image courtesy of Galerie Dutko

Screen Shot 2016-02-04 at 18.23.48Low table in brass and marble by Bruno Romeda. Image courtesy of Galerie Dutko

Screen Shot 2016-02-04 at 18.26.37Console by Benoit Lemercier. Image courtesy of Galerie Dutko

We hope you enjoyed this small selection of some of our favorites to inspire you!

Poetry in Motion – The ‘Sculptures Lumineuses’ of Bastien Carré

Celeste by Bastien Carré

‘Celeste’,  2013
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We’re very excited this week to show you the enchanting ‘sculptures lumineuses’ of artist, Bastien Carré from Aveyron in South West France. We have seen one installed in an appartment in Paris and it looked both delicate and imposing, with the beautiful twinkles of light on their graceful structure swaying very gently in the subtle air currents.
While studying design in Paris,  Carré experimented with lighting and the intense emotions it can provoke. The vast and unexplored creative potential of LEDS fascinated him and this became his medium of choice in 2007, stimulating his imagination and combining his scientific leanings with his artistic sensibilities. LEDs use less power than standard bulbs and last longer so are highly energy efficient. He transformed an electrical circuit into a subtle and creative work of art by hand-welding each LED onto a framework of electrical wires, straddling the borders between illuminated sculpture, lighting and art. His use of very thin steel wire which is most of the time less than 0.5mm in diameter means that they are extremely light. These spectacular pieces he calls ‘lumigraphies’.  Explains Carré, ‘they are ‘luminous sculptures as they are not simply functional objects but artistic pieces’.
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‘Fée Pompette’,  2011
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Each piece is signed and numbered and comes with a certificate of authenticity. Carré’s earlier pieces were limited editions of 8 but he is now working more on specific commissions from clients ‘sur mesure’ and moving towards producing unique pieces.
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‘Le Messager’,  2012
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His work is attracting serious attention. On meeting him in 2012, the Italian designer Ingo Maurer noted his talent and potential:  “In Bastien Carré’s work his poetic tenderness and technical skill impress me. I know that he still has a lot of experience ahead of him but I am convinced that one day he will play in the Super League”
Ingo Maurer, May 2013.
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Vendome Collection
 Two of Carré’s latest luminous sculptures (above) – Collection Vendome
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Check out our Q & A below with Bastien Carré  and enjoy the video of his exquisite work.
WHAT IS YOUR PHILOSOPHY WITH LUMIGRAPHY?
‘I can’t really speak about a philosophy. When I was a student of industrial design in Paris, we were taught that we had to follow a process and explain our projects to show why they were good. I never adhered to this idea because for me, a successful creation is one which surpasses explanation: the public need to be able to understand the piece and to appreciate it without listening to a discourse on it. My philosophy, if I have one is to create pieces which can be loved and appreciated just as they are by the largest number of people possible’.
WHAT IS YOUR FAVOURITE PIECE TO SHOW CLIENTS WHICH BEST REPRESENTS YOU?
‘There are some Lumigraphie pieces which spring to mind more easily than others, like ‘La Fée Pompette’ or ‘Electrostatique’ which touch the soul, but I don’t really have a single piece which absolutely represents me: its really a combination of things –  of all sorts aesthetics, of volumes, of colors, from painting to sculpture passing by mobile creations. Each piece is born from a combination of these elements, and the wish to go further, to explore to the maximum the possibilities offered by LEDs. For me, logically, I have a tendency to feel that the pieces that best represent me and what I like to show are my most recent ones  – at the moment the Collection Vendome – because they are technically and aesthetically the finest that I have ever created. Every time I look back at a piece I say to myself that it is good but that I could do better. What makes me advance incessantly is to be never totally satisfied’.

Les lumigraphies de Bastien Carré from Bastien Carré on Vimeo.

Definitely a talent to watch!

Interview with NY art advisor Natasha Schlesinger

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“The journey of art collecting itself gives the kind of satisfaction and pleasure in life that is hard to find elsewhere.” – Natasha Schlesinger Founder of ArtmuseNY.

As an educator and advisor of art in NYC, Natasha Schlesinger shares her enthusiasm and deep knowledge of the art world with clients of all stages. From galleries to studio visits, to museums and fairs she knows her way around town! We’ve had the priveledge to work with Natasha on several occasions and want to share with you, our readers, her expertise.  She recently became curator of the Surrey House in NYC. It seemed like the perfect time to catch up with her. Enjoy!

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What drew you to this métier? I have been interested in art and art history since I was 17 years old and took my first art history class in high school. I loved that objects could speak for history and people’s stories from ancient times to the present. I would say it has been a journey of discovery and learning since that time. I have worked in many aspects of the art field from the decorative arts as a specialist at Christie’s to a researcher in the old master paintings field to an educator for a graduate program to my present day company ArtMuse that specializes in educating and consulting clients in all aspects of art.

What is your philosophy on collecting? I believe that first and foremost those interested in collecting need to love what they are buying on a very immediate and personal level. It has to speak to them, to excite them through aesthetics or content or perhaps the artist him or herself.

What is the best way to start collecting? I think the best way to start collecting is to go and see art at museums, at galleries or exhibits. One needs to see as much as possible in order to understand what aspects of art might appeal to them. If there is an art class or tour or a specialist in your area, I would seek them out and acquire a little bit of an education on the art in general.

 

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What is hot right now in NY? In many ways figurative art and art that responds to the great artists of the past has seen a come back here. I feel that many young contemporary artists are working with a glance over their shoulder to the past, learning from and conversing with it. But overall, artists are not grouped into movements or styles per say. Most artists working today work in a variety of media and are have an individualist style and form of expression.

What are three benefits of collecting art and objects? The journey of art collecting itself gives the kind of satisfaction and pleasure in life that is hard to find elsewhere. Art of course does allow a collector to not just own it with some potential monetary benefits, but to live with and enjoy it every day in their own home. Art does offer a potential to invest your money in objects that will retain their significance and value for many years to come and can be passed down to your children and grandchildren.

How does collecting art impact your life? Art will always serve as an educational tool for people of all ages. Through collecting you will inevitably learn about various cultures, personal stories, politics, society and aesthetics.

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Tell us the story about when you became the curator for the Surrey House In NY! I came to the Surrey through my capacity as a creator of art experiences but I officially came on board after a successful single artist show we put together with works by Mark Boomershine. After that show, we decided that a collaboration between ArtMuse and the Surrey will expand upon their art collection and engage the hotel in the contemporary art conversation.

What other art events are you involved with in NY? I am continuously creating art events for various organizations and entities such as YPO, the Alzheimer’s foundation, Magnises group among many others. They range from galleries exploration to meeting artists to panel discussions that encourage the sharing and conversation on art and art collecting in general amongst other relevant issues.

How do you work with your clients? And how do you work with those who might not live in NY but are passing through and would like a guided shopping tour. I am an art consultant so I normally charge my clients a set commission percentage on each purchase. It will range depending on the price of the art. I also charge an hourly fee for preparing and taking my clients around the city to various art destinations that would appeal and work for my clients based on their taste, interest and budget.

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Where are the best places to buy art? I think that the best way to buy art is through reputable dealers and galleries . One then develops solid relationships and trust with them. I do feel that going to the art fairs is an amazing way to learn about the art field in general and to see more galleries and more artists in a day than one can usually see in several trips. I don’t think it’s necessarily the best way to buy while rushed at the fairs, but it is a great way to see more.

What are the most important art fairs to visit in NY? Do you offer tours around these fairs? I do provide tours for the art fairs in NY. The next important art fairs opening up in the spring are the Armory Show in March, with additional smaller satellite fairs happening simultaneously like Pulse, the AIPAD fair in April and the Frieze Art Fair in May.

What’s your most important advice for new clients/collectors? Establish a budget that you would like to work with, learn as much as you can what it is that you like in the art field and definitely consult a specialist to guide you through the process. I promise it will be worth your while and will save you time, money and aggravation.

Natasha has a great website Artmuse that tells readers about upcoming art events in NYC and includes all the information about her advisory services and tours.

We encourage you to take one of her tours on your next trip to NY!

www.artmuseny.com

 

Beatrice Serre – Celestial Crystal Mosaics

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Detail of a table top of primarily pyrite and travertine.

Beatrice Serre is a Parisian artist who graduated from the National School of Applied Arts and Craft with a concentration in Architectural Decoration (fresco, lacquer, mosaic).  She has been developing her mosaic work as artworks and recently has incorporated it into quite stunning table tops.  She will be showing her work in in Marseille this March at SIAC (Salon International de l’Art Contemporain). She states, “Since the day my first Byzantine mosaic came to life until today when the minerals form a celestial sky in my wall sculpture and tables – its been 20 years. My passion for this art has never been more essential to me. It is in perpetual evolution as I use more and more elaborate techniques in my themes and aesthetic research.  Mosaics stays in my hands the language the most universal open to you!

Her artist statement at te end of the catalogue for her retrospective in 2013 states,  « Pour être Mosaïste, il faut avoir un cœur à fendre la pierre. » Her work is a form of meditation she says. She has a spiritual approach that evolves to create a harmony in her work inspired more and more by nature.

There is soothing balance between the precious, smooth and shiny materials and the rough surface. It creates a powerful harmony that seems to carry it’s own circling energy, which culminates with rising of beauty and majesty in the center.

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Low table in black & smoky quartz, granite, 24 carat gold enamel, crystal, molten glass, mirror, lapis-lazuli & patinated steel.
132 cm long and 45 cm high, unique piece that is signed

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Low table in carrera marble, quartz, glass, travertine, bronze, molten glass and 24 carat gold enamel.

132 X 80 cm, long and 44 cm high, unique piece that is signed

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Beautiful bronze!

 

Pair of deer antler chairs, 19th century, Northern Europe

One of a pair of 19th century Northern European deer antler chairs

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The Musée de la Chasse et de la Nature in Paris holds a wonderful surprise – along with the permanent exhibition (see the deer antler chair above!) we were entranced by the stunning lighting and decorative features throughout the museum.  This private museum’s collection, founded in 1964 by François and Jacqueline Sommer, is housed in the beautiful hotel de Mongelas in the Marais.

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Saint Clair Cein wall appliquer

Bronze light appliqué by Saint Clair Cemin
These wonderful bronze wall appliqués in whimsical biomorphic shapes reinforce the theme of the museum’s collection, creating an impression of floating through a wonderful fairyland woodland grove. They are the work of Brazilian designer Saint Clair Cemin who studied at the Ecole Nationale Superieure des Beaux-Arts in Paris.
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Bronze chandelier by Saint Clair Cemin
Bronze chandelier by Saint Clair Cemin
Also by Saint Clair Cemin, are these evocative chandeliers in bronze referencing the curving forms and tendrils of plants, as well as the strong forms of antlers, connecting to the collection.
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Bronze ceiling light by Franck Evennou
Ceiling light in bronze by Franck Evennou
The tour de force was the ceiling light in one of the rooms by Franck Evennou – a forest of bronze stalks with lights sprouting from the ceiling emanating an discreet and ethereal light. The effect was mesmerizing and created a cohesive wholeness to the room. We expected to come across Sleeping Beauty any minute!
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This is truly a tribute to the power of spectacularly designed lighting.  Both functional and a form of creative expression, it can form the centre point of any interior when carefully considered and chosen.
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Bronze Table basse LOTUS de Franck Evennou
Low ‘Lotus’ table in bronze by Franck Evennou
Following on from the image above of Franck Evennou’s fabulous ceiling light, we thought you might like to see some more of this super-talented designer’s work which is clearly inspired by nature. Working primarily in bronze and wood, his use of organic forms is expressive and creative.
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Franck EVENNOU PAIRE DE GUERIDONS TRIPODES en bronze à patine brune, plateau circulaire en ardoisePair of ‘Tripode’ guéridons in bronze with ardoise table tops by Franck Evennou

Get to know our services in 2016!

Whether you would like us to curate a tour for you based on your interests during your Paris visit
or
you have something that you would like us to search for on your behalf

Artecase is your trusted source for collectible design!

Please watch this short video explaining our service!

Artecase Video photo

Read what our clients are saying about us:

“I gave Artecase an idea of what i was looking for and they tailored 3 days of tours to Paris galleries and markets that led to many purchases for my homes in Philadelphia and Miami.
They kept track of what they showed me and sent a recap after each tour. They also facilitated the purchases and the shipping.

Their knowledge of the market and attentive service took away any of the anxiety that purchasing overseas can create.

I recommend Artecase as guides and advisors of design and decorative art in Paris.”

– Emily Cavanaugh, NYC

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