Antoine Vignault at Galerie Patrick Fourtin, Paris

Blue Leather Wardrobe by Antoine Vignault at Galerie Patrick Fourtin Paris March 2015 - Detail of Handle

Galerie Patrick Fourtin hosted the vernissage of the first collection by Antoine Vignault last evening. This six piece collection is one we have been following for some time and it was a wonderful experience to see the pieces in person.

Above: A labradorite sphere framed in a gilt bronze starburst is the door handle of the sensual wardrobe “experience” pictured below with the designer.  

This wardrobe really needs to be viewed in person. It is covered in soft blue leather,which is fastened with small gold-headed nails. The details continue on the back. The base is blue tinted macassar and bronze.

Blue Leather Wardrobe by Antoine Vignault at Galerie Patrick Fourtin Paris March 2015

The starburst pattern is a subtle detail on the inside of the doors that gives you a glimpse into the detailed glory of Antoine’s work. Each piece he creates has a plaque stating the number of the piece. (Each of the five designs includes 2 prototypes, 2 art proofs and 8 examples of each work.)

Rigel Table by Antoine Vignault at Galerie Patrick Fourtin Paris March 2015

The Rigel Side Table
(We blogged about this table previously and you can see more pictures here.)

Rigel Table by Antoine Vignault at Galerie Patrick Fourtin Paris March 2015 - detail
The quality of the craftsmanship is enchanting it’s own. Yet this is just the tip of the iceberg. This table is a nod to Royère who incorporated straw marquetry and stars in his work. Antoine’s 5 pointed ‘pentagram’ star (rather than the decoratively symmetrical 6 pointed star employed by Royère) is employed with the knowledge that it is a symbol recognized by man through centuries dating back to the Egyptians, with fascinating associations to the Golden Ratio. With full understanding and enthusiasm of these theories Antoine seeks to touch an eternal chord within us humans through his work.
Betelgeuse Console by Antoine Vignault at Galerie Patrick Fourtin Paris March 2015

Betelgeuse* Console

* Betelgeuse is the ninth brightest star in the night sky and second-brightest in the constellation of Orion.

 

Betelgeuse Console by Antoine Vignault

Betelgeuse-det-CMJ

Here are a couple of studio shots because my iPhone6 shots don’t do this console justice!
~~

Side Table by Antoine Vignault at Galerie Patrick Fourtin Paris March 2015

Side table, golden straw marquetry top, bronze underside to the table with the OAK stamp visible.

For the full story on these pieces we encourage you to contact Galerie Patrick Fourtin.

Paris at Night

This is the courtyard outside Galerie Patrick Fourtin .
We wanted to share with you this enchanting view from last evening.

Wishing you a wonderful weekend!

Screen Shot 2015-03-20 at 1.08.12 PMScreen Shot 2015-03-20 at 1.08.25 PMScreen Shot 2015-03-20 at 1.08.39 PMScreen Shot 2015-03-20 at 1.08.49 PMScreen Shot 2015-03-20 at 1.09.02 PM

Tuomas Markunpoika and Design Days Dubai

If you are visiting Design Days Dubai next month (16-20 March) make sure you make a stop at Fumi Gallery  www.galleryfumi.com to see Tuomas Markunpoika’s work.

Engineering Temporality Cabinet_ by Tuomas Markunpoika

Engineering Temporality Cabinet made of welded steel rings.
Photo courtesy of Gallery FUMI

Inspired by his grandmother’s disintegrating memories as she struggled with Alzheimer’s, Finnish designer Tuomas Markunpoika created his Engineering Temporality collection as a reflection of the fragility of memory and its loss.”Her Alzheimer’s disease is unravelling the fabric of her life, knot by knot, and vaporizing the very core of her personality and life, her memories, and turning her into a shell of a human being” said Markunpoika.   By covering pieces of wooden furniture in a web of welded steel rings before destroying them with fire, he has created objects which have a nebulous connection with the original but appear hazy and blurry. They symbolically reveal the vanishing of memory by referring to the past.

9738c9cf-c5cb-492c-bb27-99970c5c740a

Burning the wooden frame of the cabinet leaves the welded steel rings in its place, symbolically burning the original ‘memory’. Markunpoika presented this collection as his graduation project at the Design Academy Eindhoven in 2012.

tuomas_07A chair in the collection before and after the original wooden structure is burned leaving the frame of steel rings.


“The use of language in Western contemporary culture implies that memories are often conceived as possessions: we ‘keep’ memories alive or ‘preserve’ them, as if our memories were materialised objects. These objects become mementos and our personal possessions which we are responsible for. When objects impregnated with memories are created, they become precious and irreplaceable because of the transference of memories into that object” says Markunpoika.

0c9b7b2d-e3f0-469b-80c5-3d9846a0f508The Engineering Temporality Cabinet and Chair
Image courtesy of Fumi Gallery

 “I felt the urge to connect design to the human emotional sphere and to values that reflect how we are as human beings, by trying to create a bridge between the metaphysical and the material world using design as a medium of expression”. The relationship between viewer and object is strong and the emotional impact profound. The rich dialogue and emotional exchange creates layers of experience. The objects remain functional.

~~

91075404-7fb2-421b-be99-a46756962010Rietveld’s ‘Silla’ Chair from ‘Smoke’ series by Maarten Baas, 2002.

Another graduate of Eindhoven, Maarten Baas, produced his ‘Smoke’ series for his graduation show in 2002, using fire as a process, but with a very different meaning. Baas charred furniture with a blow torch, then treated the skeletons with a resin coating turning them into usable pieces of furniture again.
Murray Moss showed his work in a solo show in New York in 2004, using design pieces by Rietveld, Eames, Gaudi and Sottsass.

~~

“The only important thing about design is how it relates to people”, Victor Papanek (Vienna 1923-1998 Kansas).
An Austrian-American designer and educator who created product designs for the United Nations Educational, Scientific and Cultural Organization (UNESCO) and the World Health Organization (WHO), he was educated in England at Rugby before emigrating to the US where he studied design and architecture. He worked with Frank Lloyd Wright in 1949, earned his Bachelor’s degree at the Cooper Union in New York (1950) and did graduate studies in design at the Massachusetts Institute of Technology. The Victor J Papanek Foundation, University of Applied Arts in Vienna seeks to advance the understanding of design from the perspective of social responsibility.

~~

If you plan to be in Paris in the next few months, the’Deboutonner la Mode’ exhibition at the Musée des Arts Decoratifs (10 Feb – 19 July) is well worth a visit. The collection of buttons is spectacular and the creativity and attention to detail of the designers inspiring.

alberto-giacometti-pour-schiaparelli-vers-1930-resp200 Alberto Giacometti for Elsa Schiaparelli, early 1930s. Bronze

~~h-hamm-resp200Henry Hamm, 1915-1920. Corne.

~~m-2013-1271-jt-resp200

Charles Boutet de Monvel, Paris c 1900. Metal and pearl.

~~

Inquiries : contact@arte-case.com or 06 47 25 09 66

Dutko and PAD Paris

Transcendent Aesthetics of ArtDesign

Eric Schmitt and Benoit Lemercier are two contemporary designers creating supremely seductive and sculptural ArtDesign objects. With different methods and intentions both create works that evoke beautiful harmony. There work will be presented at PAD Paris by the exciting Jean-Jacques Dutko Gallery.Table Leaf HD

Eric Schmitt Leaf Console in Patinated bronze. An edition of 8. Signed ES.
Height: 29 in. Diameter: 52 in.
Image courtesy of Galerie Jean-Jacques Dutko

 

_DSC0367 (Copier)

Benoit Lemercier console in white lacquered steel, 2014 from the Superstring Series.
Height: 120 cm/47 1/4 in., Length: 150 cm/59 in. Depth: 60 cm/23 3/4 in.
Image courtesy of Galerie Jean-Jacques Dutko

As a decorative artist, Eric Schmitt  says, “there are parameters within which I must work. I start with the form – be it table, console, bowl, etc – and rework my drawings as I explore the form within the boundaries of proportion, equilibrium, material and function.  When the work speaks to me clearly and quietly, I have reached the final form. I feel very close to the manner of searching and exploration found in early Modernist decorative art masters such as Pierre Chareau, Jean-Michel Frank and Eugène Printz, whose love of materials and geometry found expression through timeless harmony.
I believe modernity can be found in the past, and the idea that certain forms transcend time – remaining provocative and inspiring – resonates deeply for me. I search for inspiration that speaks to this sensibility.”

While Lemercier says, “My role as an artist is not to comment on daily life, politics or society, but instead to be interested in the essence of universal things in order to glorify their harmony and understand their message.  He studies various theories of physics including superstring theory and that of hypercubes endeavoring to give “poetic” form to the “world that we cannot comprehend through our eyes.”

Screen Shot 2015-02-20 at 9.27.32 AM

Lemercier’s sculptures paintings and drawings will be on view at Dutko Ile Saint Louis – a très chic gallery – starting just a few days before PAD and we are looking forward to visiting to learn more about the artist’s artistic/scientific explorations.

~~

The Breathing Cloud, below right,  will be presented for the first time as a unique installation for the entrance of PAD Paris.

Screen Shot 2015-02-20 at 6.20.30 AM

Emmanuel Babled‘s Digit Chandelier

Below: ‘The breathing cloud’ is a computer generated pattern of 3 varying sizes of spherical lights densely clustered together. They are produced with hand blown Murano glass.  The original Digit light that inspired this installation is a reference to Pop Culture and randomness in contrast with the classical Muranese chandelier.

“The breathing motion of the light emitted from the handblown glass, is a heightened expression of movement, air, and change. The light is alternating density and openness, balance and extreme, light and reflection.” according to the PAD website. We can’t wait to experience this in person!

Screen Shot 2015-02-20 at 6.30.22 AM

 

Screen Shot 2015-02-19 at 9.47.24 PM

Lastly we wanted to share an inspiring nowness.com video  of prolific writer/publisher Angelika Taschen speaking of interiors from her apartment in Berlin.
She says, “I only like authentic interiors … an apartment that has a soul and the person who lives in it is behind every single detail… I think that is very important for a good interior.” 

Her apartment was designed by British architect David Adjaye who will be mining the permanent collection at Cooper Hewitt for the 12th exhibition in the ongoing Selects series.

Opening 19 June 2015! Mark your calendars now!
We will certainly visit in July.Screen Shot 2015-02-20 at 5.08.25 PM

Wishing you all a great weekend!

 

Friday Finds! Alexandre Logé and the Reinterpretation of Design Elements

585b9c_8539f8d1630a46e1b78b765d81b713d8.jpg_srz_640_479_75_22_0.50_1.20_0.00_jpg_srz

Atlante X stool in black patinated bronze. Upholstered in ‘gold bronze’ material by Alexandre Logé
17.75 x 22 x 16.5 inches / 45 x 56 x 42 cm.

~~

This Atlante X Stool in patinated bronze is by Paris-based designer Alexandre Logé who cites Primitive Art as his primary influence for the bronze structure. ‘Atlante’ is the male equivalent of the ‘cariatide’ figure which is often represented in tribal art artefacts.  His choice of materials is significant and intentional. The beautiful woven cotton  fabric of the upholstery has the appearance of Galuchat or sharkskin leather but is obviously less fragile as seating upholstery.  As Logé says “this is perfect.  I love this mix….I mean we are dealing with ‘sharkskin’ and an ‘Oceanic Chieftain symbol’ (thats how I saw the Atlante structure) but concretely we have precious fabric, bronze,  smooth finish and black patina, all  ‘Art Deco codes’. Logé’s personal reinterpretation and bringing together of broad and seemingly disparate influences allows him to combine the familiar with the new, breaking down the mental pathways which the human mind is so expert at solidifying. 
He is clear about his own priorities in his work: “To me aesthetic appeal and creative expression are definitely the most important things….functionality in design is a constraint, this makes the difference between Art and Design. But it is a good challenge to work out what I can do with an idea I love…. and the compulsory height of a bench….” he says.
 
Some of these striking stools are in the Dior boutique in Place Vendome and in the Royal Palace in Morocco.
What drew us to this piece was the really beautiful shape of the structure.  We in fact saw the form of a gently pointed Gothic arch in the legs along with the Art Deco reference but having talked to the designer we discovered the Primitive Art influence. This opened up a whole new and exciting perspective for us. 
Isn’t it interesting what our own experiences and outlook bring to our personal reactions? 

American in Paris – Frank Lloyd Wright

Wright, Frank Lloyd, ensemble 1

 

Frank Lloyd Wright created the philosophy of organic architecture.
His idea of “organic architecture is a reinterpretation of nature’s principles as they had been filtered through the intelligent minds of men and women who could then build forms which are more natural than nature itself”, according to  Kimberly Elman, Ph.D., in her essay Frank Lloyd Wright and the Principles of Organic Architecture 

This suit of furniture designed by Wright in 1955 is important and rare as it was only between 1955-57 that he made furniture independently of a larger scale architectural projects.

Grey mahogany table with metal engraved border and six chairs
Heritage Henredon Workshop, USA, 1955

Table : H. 24 in., D. 54 in. / 1 extension : 13,75 in.
Chairs: H. 28 in., W. 20,5 in., D. 23,75 in.

tal

Detail of the table edging

Wright, Frank Lloyd, ensemble 4

Detail of the leg carving

Wright, Frank Lloyd, ensemble 6 chaise

Above: One of the six chairs; Below: detail of the leg carving

download.php

“So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no ‘traditions’ essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but—instead—exalting the simple laws of common sense—or of super-sense if you prefer—determining form by way of the nature of materials…”
— Frank Lloyd Wright, An Organic Architecture, 1939

For inquiries:
contact@arte-case.com or 06 47 25 09 66

Friday Finds! Vive La France! Innovative and Measured Design

ac283201-7ce8-449c-abe7-6d1bcf0fdb58

Wall light in polished brass, walnut and white perspex (circa 1960) by Robert Mathieu

15c4f68d-dbbd-4a81-a703-b995d1e3859f

The 1950s and 60s was a particularly prolific period of optimism and creativity  for French designers. We are seeing more focus on French design of this era and it is definitely a market to watch. Robert Mathieu (1921-2002) is one of the most interesting, and perhaps least known of the designers working in this period. His production was small as he manufactured his own designs. 
We saw this wall light (c.1960) by Mathieu in a Parisian gallery which is known for creating the market for lighting. It is functional and beautiful, simple and inspired.  Its sleek system of delicate counterbalance, using a simple pulley system to adjust the height, gives the user complete flexibility. The light switch is weighted on the electrical wire as you can see in the second image. It could be used as a reading light next to an armchair or placed on the wall above a desk. Its white perspex shade was innovative for its time with its ability to reflect light. It is a highly collectible piece.
Mathieu originally trained as a watchmaker and it is the organic and symbiotic nature of the creative impulse which interests us here with his development towards lighting design. With his personal vision he took his knowledge and applied it to the field of lighting design.  You can feel Mathieu’s fascination with balance, mechanism and function in the simple almost clock-like workings of this light and this was reflected in the name of his production company,  ‘R. Mathieu Luminaires Rationnel’. Please click here to see another of Mathieu’s lights in an earlier post.
~~

Friday Finds!

 

ff33d69b-4afc-4521-8d79-f809540fe65896cde434-e071-491d-b039-c6abe0ff17ae Flemming Laasen’s (1902-1984) ‘Tired Man’ chair, originally designed for the Joiners Guild Exhibition in 1936 is intriguing. The curved forms can be interpreted as the designer’s individual response to the austere internationalism prevailing in the pre-WWII years of the 1930s. The sheepskin upholstery renders the design even more organic and unashamedly luxurious.  Laasen wrote that he wanted the person sitting in it to feel “like a polar bear cub held by its mother in the middle of the ice cap feeling safe and warm”. This idea of creating a dialogue and encapsulating emotive feelings of maternal reassurance in an object interests us. The chair has soul and purpose and to our mind it is this which renders its appeal still strong today.

It achieved a record price at auction (191,000€ which was nearly three times the estimate) earlier this year, suggesting that the desire for organic design and comfort in our furniture transcends time. What do you think ? Should design fulfill the human need for comfort as well as utility ? Is comfort essential in design?   An ongoing discussion…..

~~

Wishing you all a very happy holiday season!

Friday Finds!

IMG_0850

This beautiful sculptural portemanteaux designed by Felix Agostini,  straddles the worlds of Art and Design – it can as easily be described as a piece of sculpture as it can a functional piece of design. Sculpturally it has a personal and playful quality, as does so much of Agostini’s surrealist-influenced work with expressive attenuated lines created in patinated bronze. As a place to hang your coat – its functional purpose – it is perfectly efficient with several hooks for coats and a curved space further down to hook your umbrella. We think it would be a shame to hide the elegance of the form with coats but perhaps just a beautifully draped cashmere coat or scarf….
Agostini was self-taught and worked for a time around the 1940s with Giacometti in Paris. The latter’s influence is clear in the whimsical lines and textured surfaces mastered through the medium of bronze and metal.  In the 1950s Agostini had a shop at 3 rue de Penthievre in the 8th arrondissement of Paris and it is during this period that he produced many of his famous lights and standing lamps. Please click on the image of the ‘Ouragan’ lamp below to read an earlier post.
In this unique portmanteaux, dated 1970,  you can see how the original mid century maxim of ‘Form follows Function’ had moved on and evolved and the boundaries became blurred in an exciting and challenging way. To our mind, it is that which makes this unique piece inspirational and absolutely worth owning. Just think how sharing in this narrative would enhance your life. 
H160cm x W60cm.  
~~
tumblr_mbznowiW0G1rpfe9vo1_500
We saw this striking lamp by Agostini and although several of his vintage designs are now being reissued in numbered editions by Donghia, we can find you the much sought-after original pieces.
~~
IMG_0844This is a pair of mahogany armchairs from 1950 by Domenico Parisi (1916-1996), better known as  “Ico” Parisi.   His early work can often be identified by the curves he incorporates to connect opposing angles. While minimal and certainly aware of the Moderinst movement, his work seems to identify more with the concurrent atomic age movement in design. Simultaneously it echoes the futurism movement that started in Italy in the beginning of the 20th century and was expressed in the Art Deco movements in Europe and the United States in the ’20s and ’30s.  We think his work is grounded and optimistic.  Original powder blue velvet upholstery.
Height/Hauteur: 75 cm (29.53 in)
Width/Largeur: 69 cm (27.17 in)
Length/Longueur: 72 cm (28.35 in)
~~
FullSizeRender
We love the casual yet dynamic elegance of this beautiful pair of Swedish lounge chairs in oak and leather (‘Model 204’) by brothers Uno & Osten Kristiansson. Named the “Hunting Chair” (1954) it was produced by Luxus, a company founded in 1950 by the Kristanssons. This is one of the rare furniture pieces designed by the duo as they mainly concentrated on lighting. Supremely comfortable, the design is ergonomically brilliant as the flexible leather cradles the sitter.  
Hookl Und Stool of Belgrade currently produce an adapted version of the ‘Hunting Chair’ called  the Masterpeace MP-04. While it looks quite nice there is nothing as elegant and enriching as acquiring the original with its gorgeous patinated leather.
H77cm x W53cm x L78cm
~~
Inquiries about any of these objects:
contact@arte-case.com or 06 47 25 09 66

Friday Finds!

photo 5Treasure hunting in Paris on a rainy day

~~

photo 3-1

 

A pair of 1960s Scandinavian teak and rosewood chairs. These exceedingly comfortable chairs carry some recognizable trademarks of midcentury Scandinavian design. The sculptural form of the arms is one and the use of teak and rosewood is another. Both woods are tropical hardwoods from South and Southeast Asia (Burma, Malaysia India and Indonesia)  and both are known for their strength and fine straight grain, which quietly and naturally enhances the aesthetic of these pieces.
 
The market for teak has become politically charged over the last twenty years or so as logging of Burmese teak (known as Thai teak) was revealed to fund the Burmese military known for its human rights violations. The Forest Stewardship Council (FSC®), a non-profit organization devoted to encouraging the responsible management of the world’s forests, was developed but they too have become mired in financial scams at various times. And finally recent teak farms in Africa and Costa Rica have upset the natural habitat. There leaves are the largest of any tree species and they are a natural herbicide. When they fall to the ground they naturally inhibit the growth of other plants.
 
Vintage teak is collectible. Buying contemporary teak furniture you are likely to inadvertently contribute to problems you would otherwise stay clear away from.
 
Knowing what your buying has important consequences!

photo 4-1

photo

The back splits are teak and the structure is rosewood. The seat is rubber-covered steel. The chairs have been reupholstered.

Size: H72cm x W63.5cm xD75cm
Height from ground to seating cushion 53cm
Height of seat frame without cushion 40cm

~~
photo 1-2

We found these two very different small 1960s French lights enchanting. The curved brass feet on the base of the left hand side lamp place it firmly in the 1960s. The other lamp is made of nickel plated chrome.

~~

photo 2-2

We were very excited to find this rare mid century black-lacquered metal and brass desk lamp (1960s) which was produced by the German manufacturer Gebr. Kaiser Leuchten.   We have seen this model in books and know that it is a very limited edition. It is most likely by German designer Christian Dell who was collaborating with the company at this time. Trained as a silversmith, Dell went on to work as a foreman in the metal workshop at the Bauhaus. With WWII looming, Walter Gropius offered him a job in the United States but Dell decided to remain in Germany.

The large lamp head, the shape of which is echoed by that of the base,  pivots in a three-quarter circle so that light can be directed where you want it.  It is really a magnificent piece. 

~~

Inquiries about any of these objects:
contact@artecase.com or 06 47 25 09 66

Friday Finds!

FullSizeRender

With Paris Photo opening next week, we were excited to see Etienne Bertrand Weill’s  ’Métaforme’  works (1959-1982). These are photographs of  abstract creations through which he recorded the movement of mobiles based on his interpretation of musical structures. They were meant to free the viewer from reality by stimulating the imagination without restraining it. Weill worked for a time as Hans Arp’s official photographer and also conceived moving images as backdrops for France’s National Opera Ballet in the 1970s – these backdrops played a key role in the choreographies. This original silver print from 1959 is called ‘Orphée’ (41.6 x 51.5 cm). It is a technique which involved printing the original negative onto gelatin silver fiber paper. 

~~

photo 1

This is a rare 1960s murano glass Seguso pendant light (20cm diameter). Seguso have been designing glass in Murano since 1937. The reflections made by the bubbles in the glass create a layered pattern effect and draw you into the depths of the glass orb. This would be a stunning piece above a side table or a kitchen sink.

~~

photo 3

This pair of French wicker chairs from the 1970s are very comfortable and beautifully designed. They have a contemporary form but the material is a world away from the plastic material used to create weather-proof versions of this aesthetic. These are the original natural material.  They are light and easy to store when necessary.

~~

bbd2ba9d-3431-4cec-af04-9489081b0e82

We were drawn to these three rare metal wall shelves from the 1960s by Matthieu Matégot (1910-2001) whose work has become quite well known in the auction world. This rare model called ‘Dedal’ noires, is a versatile storage solution. The arrangement can adapt to various size walls and the form they take can change depending on how you arrange them.  

~~

14b67f4d-c45a-4358-8ced-0a08bcaef69c

Here is a sneak preview from a recent project. This ’Etrangère’ vase  (1985) by Philip Starck is in black cut Daum glass on thick transparent glass. It’s sculptural asymmetry plays beautifully with this Empire commode in mahogany with a black marble top. 

~~
Inquiries about any of these objects:
contact@artecase.com or 06 47 25 09 66