Académique Documents
Professionnel Documents
Culture Documents
PARIS
22, rue Chauchat 75009 Paris
T. +33 (0)4 91 50 00 00
F. +33 (0)4 91 67 36 59
E. contact@leclere-mdv.com
expositions
commissaires-priseurs
Damien Leclere & Delphine Martin-Orts
spcialiste design
Romain Coulet
tl. +33 (0)6 74 43 56 93 / coulet@leclere-mdv.com
Provenance :
- Collection dun architecte, Ardche, France.
Sandows chair
Metal, sandow strap
34.25 x 18.11 x 16.73 in.
Rfrences :
- Solange Goguel, Ren Herbst, Du Regard, 1990, p. 265.
- Catalogue dexposition, La collection de Design du Centre
Georges Pompidou, Centre Georges Pompidou, 2001,
p. 41.
- Charlotte & Peter Fiell, 30s 40s Decorative Art, Edition
Taschen, 2000, p. 196.
- Charlotte & Peter Fiell, Design du XXe sicle, Taschen,
2005, p. 323.
Paire de fauteuils
Mtal, bois
85 x 58 x 61 cm.
Tubor, circa 1930
Provenance :
- Collection dun architecte, Ardche, France.
Pair of armchairs
Mtal, oak
33.46 x 22.83 x 24.02 in.
003 T R AVA I L F R A N A I S
Chaise
Mtal, simili cuir
81 x 82 x 45 cm.
Circa 1940
Chair
Laquered metal, ska
31.89 x 32.28 x 17.72 in.
Rfrences :
- Jan Van Geest, Jean Prouv, Taschen, 1991, p. 52 et p. 53.
Desk table
Steel, oak, plastic-laminated wood
29.92 x 37.8 x 19.69 in.
Provenance :
- Cite de refuge de larme du Salut, Paris, France.
11
Provenance :
- Collection dun architecte, Ardche, France.
Commentaire :
- Seulement 444 pices dans diffrentes tailles et avec diffrents plateaux ont t produites.
Rfrences :
- Arthur Regg, Le Corbusier Meubles et intrieurs 1905-1965, Fondation Le Corbusier,
2012, p. 275.
- Marie Laure Jousset, Catalogue dexposition Charlotte Perriand, Centre Georges Pompidou,
2005, p. 98.
- Revue Art et Dcoration juillet-dcembre 1929, p. 181.
- Revue Mobilier & Dcoration, n12 Dcembre, 1929, p. 219.
- Jacques Barsac, Charlotte Perriand et le Japon, Norma 2008, p. 100.
12
Meuble vier
Contreplaqu, aluminium, ciment
135 x 181 x 82 cm.
1952
Provenance :
- Unit dhabitation de la cit radieuse, Marseille, France.
Sink
Plywood, aluminum, cement
53.54 x 71.26 x 32.28 in.
Rfrences :
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs, 2010, p. 73.
- Arthur Regg, Le Corbusier Meubles et intrieurs 1905-1965, Fondation Le Corbusier, 2012,
p. 327.
14
Armoire cloison
Contreplaqu, chne
200 x 155.5 x 42.5 cm.
1952
Commentaire :
- 170 armoires ont t fabriques, une par appartement descendant
Provenance :
- Unit dhabitation de la cit radieuse, Marseille, France.
Room divider
Oak, plywood
78.74 x 61.22 x 16.73 in.
Rfrences :
- Allen Brooks The Le Corbusier Archive Volume 17, Garland Publishing Co., 1982, p. 60.
- Jacques Barsac, Charlotte Perriand un art dhabiter, Norma, 2005, p. 297.
- Arthur Regg, La cellule Le Corbusier Lunit dhabitation de Marseille, Imbernon, 2013, planche 28.
- Arthur Regg, Le Corbusier Meubles et intrieurs 1905-1965, Fondation Le Corbusier, 2012, p. 326.
Stop ! Basta ! Too much is too much, we are done! Enough with It was better before, moldy attachment to the past and would be reactionary nostalgia !
Indeed mistakes have been made, a lot and in fact far too many.
We could certainly have done better, other things, differently, but one shouldnt throw the baby out with the bathwater, on the contrary, one should be careful not
to pass peremptory judgments that are definitive as well as anachronistic.
In the emergency of postwar reconstruction, in the winter of 1956 when France had to find accommodation for returnees from Algeria, urban policies were not
well adapted, conceived or controlled, but the many housing developments from the 50s and the 60s were not all as cataclysmic as some like to say.
It is easy to denounce after the fact, to criticize, to bash, to mock and to drag through the mud the experiments from a still recent past, just because the concentra-
tion of large urban complexes, the construction of new urban zones, housing estates or new towns away from any existing urban fabric has resulted in sociological,
economic et environmental consequences that had not been anticipated in any way.
All things considered, what is the point of denying the positive aspects of those frequently utopian attempts to imagine innovative organizational models or
aesthetics?
No indeed, Plexiglas is not less noble than crystal, nor is steel less so than bronze, or concrete than marble!
Why would a luminous bollard in Le Roy dEspagne estate be less interesting than any other creation by an architect or a designer?
It is a major item in the urban landscape, a witness of its time, and who can say that Guillaume Gillets creations wont become tomorrow references as essential
for Marseille as Wallace fountains or Morris columns are for Paris?
16
008 GUILLAUME GILLET (1912-1987)
Borne lumineuse
Bton, mtal
85 x 136 x 52 cm.
1962
Provenance :
- Domaine du Roy dEspagne, Marseille, France.
Exterior light
Concrete, steel
33.46 x 53.54 x 20.47 in.
17
Just as racism, anti-Semitism or homophobia, sexism is a disgrace that should not be allowed to stand in a society that pretends to be civilized.
When she was born in Paris in 1903, in what is known as la Belle poque, women were confined to the roles of wives or home-makers.
Those who worke only had access to the most subordinate positions.
From the beginning, Charlotte Perriand refused to follow well-trodden paths. She decided to get a higher education and attended the cole de lUnion Centrale
des Arts Dcoratifs.
In defiance of the misogyny of many critics, she participated in the prestigious International Exhibition of Decorative Arts of 1925 when she was barely 22.
Thanks to her creativity as well as her innate sense of modernity she worked with the trendiest creators such as Le Corbusier, Pierre Jeanneret or Jean Prouv.
Although she lived and worked in a strictly masculine and male chauvinistic world, she never tired of defending her distinctive point of view regarding political,
social and artistic matters.
The careful studying of the elements of an order she crafted in 1947 demonstrates her unique talent influenced by her experience in Indochina and Japan where
she understood the use she could make of raw wood.
The table with a hexagonal top set on a three-legged base provides a striking contrast with the round seats of the chairs equipped with four cone-shaped legs.
To provide a harmonious link, the stools serve as in-between accents by displaying round seats too resting on three tapered legs.
The furniture she designs perfectly reflects her advocacy of a simple, useful and practical design that prefers flexibility and functionality and rejects empty state-
ments that only rely on aesthetic justification.
Confronted with male chauvinism all her life, Charlotte Perriand had to fight continuously to promote the originality of her work that strives to establish a
harmonious relationship between men and his environment through a humanistic, pragmatic and Zen approach.
18
Provenance :
- Collection de M. & Mme B, sud de la France.
Rfrences :
- Marie Laure Jousset, Catalogue dexposition Charlotte Perriand,
Centre Georges Pompidou, 2005, table rapprocher p. 154.
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs,
2010, table rapprocher p. 252.
- Jacques Barsac, Charlotte Perriand et le Japon, Norma 2008,
table rapprocher p. 201.
20
Paire de chaises 18
Frne, paille
83 x 43 x 38 cm.
Lquipement de la maison, circa 1947
Provenance :
- Collection de M. & Mme B, sud de la France.
Rfrences :
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs,
2010, p. 72.
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma,
2005, p. 261.
- Jacques Barsac, Charlotte Perriand luvre complte volume 2
1940 - 1945, Norma, 2015, p. 171.
22
Paire de fauteuils 21
Frne, paille
80 x 55 x 68 cm.
Lquipement de la maison, circa 1950.
Provenance :
- Collection de M. & Mme B, sud de la France.
Pair of armchairs
Ash, strow
31.5 x 21.65 x 26.77 in.
Rfrences :
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma, 2005,
p. 275.
- Marie Laure Jousset, Catalogue dexposition Charlotte Perriand, Centre
Georges Pompidou, 2005, p. 109.
- Jacques Barsac, Charlotte Perriand luvre complte volume 2 1940-
1945, Norma, 2015, p. 171.
- Jacques Barsac, Charlotte Perriand et le Japon, Norma 2008, p. 189.
Bahut 1
Frne, acajou
Tampon de lditeur
120 x 245 x 42 cm.
Lquipement de la maison, circa 1947
Provenance :
- Collection de M. & Mme B, sud de la France.
Sideboard
Ash, mahogany
47.24 x 96.46 x 16.54 in.
Rfrences :
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs,
2010, p. 72.
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma, 2005,
p. 227.
- Jacques Barsac, Charlotte Perriand luvre complte volume 2
1940 - 1945, Norma, 2015, p. 171.
24
Provenance :
- Collection de M. & Mme B, sud de la France.
Chair
Ash
27.95 x 14.17 in.
Rfrences :
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma,
2005, p. 280.
- Patrick Favardin, Les annes 50, Du Chne, 1999, p. 57.
- Jacques Barsac, Charlotte Perriand luvre complte volume 2
1940 - 1945, Norma, 2015, p. 169.
Provenance :
- Collection de M. & Mme B, sud de la France.
Chair
Ash
27.95 x 14.17 in.
Rfrences :
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma,
2005, p. 280.
- Patrick Favardin, Les annes 50, Du Chne, 1999, p. 57.
- Jacques Barsac, Charlotte Perriand luvre complte volume 2
1940-1945, Norma, 2015, p. 169.
26
Tabouret
Frne
44 x 32.5 cm.
1960
Provenance :
- Rsidence les Gadins, Courchevel, France.
Stool
Ash
17.32 x 12.8 in.
Tabouret 24
Frne
44 x 36 cm.
BCB, circa 1950
Stool
Ash
17.32 x 14.17 in.
Rfrence :
- Jacques Barsac, Charlotte Perriand luvre complte
volume 2 1940 - 1945, Norma, 2015, p. 311.
27
Provenance :
- Collection de M. & Mme B, sud de la France.
Chair
Ash
27.95 x 14.17 in.
Rfrences :
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma,
2005, p. 280.
- Patrick Favardin, Les annes 50, Du Chne, 1999, p. 57.
- Jacques Barsac, Charlotte Perriand luvre complte volume
2 1940 - 1945, Norma, 2015, p. 169.
28
Table 10
Frne, placage de frne
70 x 36 cm.
Etiquette du transporteur indiquant que cette dernire a t expose
la synthse des arts et tampon de lditeur sous le plateau.
Lquipement de la maison, circa 1947.
Provenance :
- Collection de M. & Mme B, sud de la France.
Coffee table
Ash, ash-veneered wood
27.56 x 14.17 in.
Rfrences :
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs, 2010,
p. 72.
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma, 2005, p. 257.
- Jacques Barsac, Charlotte Perriand : Luvre complte, volume 2, 1940-
1955, Norma, 2015, p. 179, p. 201 et p. 280.
- Revue Le dcor daujourdhui, n 52, 1949
- Revue Art et dcoration n9, 1948, p. 4.
- Revue Art et dcoration n21, 1951, p. 11.
Enfilade
Placage dacajou, formica, mtal
76 x 157 x 45 cm.
Steph Simon, 1958
Provenance :
- Cit ptrolire Cansado, Mauritanie, Afrique.
Sideboard
Painted metal, mahogany, plastic-laminated wood
29.92 x 61.81 x 17.72 in.
30
Banquette
Acajou, placage dacajou, formica, mtal, drap de laine
61 x 260 x 70 cm.
Steph Simon, 1958
Provenance :
- Cit Cansado, Mauritanie, Afrique
Rfrence :
- Catalogue dexposition Pierre Jeanneret, Galerie Down-
town, 2015, p. 41.
Suite de 6 chaises 18
Frne, paille
83 x 43 x 38 cm.
Lquipement de la maison, circa 1947
Set of 6 chairs
Ash, strow
32.68 x 16.93 x 14.96 in.
Rfrences :
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs,
2010, p. 72.
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma, 2005,
p. 261.
- Jacques Barsac, Charlotte Perriand luvre complte volume 2
1940 - 1945, Norma, 2015, p. 171.
Applique dite il
Mtal, laiton, aluminium
L. : 25 cm.
Atelier Serge Mouille, 1956
Wall light
Painted aluminum, painted steel, brass.
L. : 9.84 in.
Rfrences :
- Pierre Emile Pralus, Serge Mouille un classique franais, Du Mont Thou, 2006, p. 180.
- Catalogue de lexposition Jean Prouv / Serge Mouille, galerie Delorenzo et galerie
Alan, 1985, p. 131.
34
Rfrences :
- Carlos Mota, A touch of style, Assouline, 2015, n.p.
- Georges Jouve, Jousse entreprise, 2005, p. 294.
- Catalogue dexposition Charlotte Perriand, Centre Georges Pompidou, 2005, p. 154.
- Patrick Favardin, Les dcorateurs des annes 50, Norma, 2002, p. 137.
- Charlotte Perriand, un art de vivre, Flammarion, 1985, p. 52.
35
Bibliothque plots
Tle dacier, aluminium, bois
150 x 197 x 33 cm.
Ateliers Jean Prouv, circa 1955
Provenance :
- Collection dun architecte, Isre, France.
Bookcase
Painted diamond-point aluminum, painted metal, oak
59.06 x 77.56 x 12.99 in.
Rfrences :
- Domus, volume III, 1955 - 1959, Taschen, 2006, modle rapprocher
p. 393.
- C. Coley & R. Guidot & F.C. Prodhon, Jean Prouv Volume II, Galerie
Patrick Seguin, 2007, p. 512.
- Jacques Barsac, Charlotte Perriand, un art dhabiter, Norma, 2005,
p. 420.
- Jacques Barsac, Charlotte Perriand loeuvre complte volume 2 1940-
1945, Norma, 2015, p. 412.
- Jacques Barsac, Charlotte Perriand et le Japon, Norma 2008, p. 253.
36
38
Bibliothque
Aluminium, bois
225 x 67 x 28 cm.
Circa 1960
Provenance :
- Collection dun architecte, Ardche, France.
39
Bahut R08
Orme
84 x 183 x 53 cm.
Circa 1960
Sideboard
Elm
33.07 x 72.05 x 20.87 in.
Pair of stools
Elm
17.52 x 12.6 in.
40
Dining table
Elm
28.74 x 50.39 in.
Suite de 2 bougeoirs
Cramique
Signe et monogramme
8 x 5,5 cm.
Circa 1955
Set of 2 candlesticks
Glazed earthenware
Underside incised with artists cipher and Jouve.
3.15 x 2.16 in.
Suite de 2 bougeoirs
Cramique
Signe et monogramme
6,5 x 5,5 cm.
Circa 1955
Set of 2 candlesticks
Glazed earthenware
Underside incised with artists cipher and Jouve.
2.56 x 2.16 in.
42
Suite de 2 bougeoirs
Cramique
Signe et monogramme
8 x 5,5 cm.
Circa 1955
Set of 2 candlesticks
Glazed earthenware
Underside incised with artists cipher and Jouve.
3.15 x 2.16 in.
Suite de 2 bougeoirs
Cramique
Signe et monogramme
8 x 5,5 cm.
Circa 1955
Set of 2 candlesticks
Glazed earthenware
Underside incised with artists cipher and Jouve.
3.15 x 2.16 in.
43
Provenance :
- Chandigarh, Inde.
Rfrences :
- Revue Architectural Digest, septembre-octobre 2011, p. 154 et p. 155.
- Patrick Seguin, Le Corbusier Pierre Jeanneret, Chandigarh India 1951-66, Galerie Seguin,
2014, p. 230, p. 231 et p. 286.
- Catalogue dexposition Pierre Jeanneret, Galerie Downtown, 2015, p. 66 et p. 67.
46
Provenance :
- University of Punjab, Chandigarh, Inde
Rfrence :
- Eric Touchaleaume & Grald Moreau, Le Corbusier Pierre Jeanne-
ret - Laventure indienne, Gourcuff Gradenigo, 2010, p. 561 sous le
numro PJ-SI-25-E.
Table
Teck, placage de teck
40.5 x 87.5 x 87.5 cm.
Circa 1960
Provenance :
- Chandigarh, Inde.
Coffee table
Teak-veneered wood, teak
15.94 x 34.45 x 34.45 in.
Rfrences :
- Patrick Seguin, Le Corbusier Pierre Jeanneret, Chandigarh
India 1951-66, Galerie Seguin, 2014, p. 206, p. 242.
- Amie Siegel, Catalogue, Prem Krishnamurthy, 2014,
p. 142 et p. 287.
- Catalogue dexposition Pierre Jeanneret, Galerie Down-
town, 2015, p. 85.
Provenance :
- Chandigarh, Inde
Amrchair
Teak, cane
29.13 x 20.08 x 20.08 in.
Rfrence :
- Catalogue dexposition Pierre Jeanneret, Galerie
Downtown, 2015, p. 95.
50
Provenance :
- High Court, Chandigarh, Inde.
President armchair
Teak, upholstery
53.54 x 31.89 x 30.31 in.
Dining table
Oak, metal
30.31 x 30.31 x 30.31 in.
Rfrence :
- Jean Prouv concepteur constructeur, Pen Magazine, 2012,
table rapprocher p. 79.
52
Banc
Chne, tle de mtal
94 x 202 x 55 cm.
Circa 1958
Provenance :
- Facult dentaire, Paris, France.
Bench
Painted tubular steel, oak.
37.01 x x 21.65 in.
Rfrences :
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs, 2010,
meuble damphithtre rapprocher p. 163.
- C. Coley & R. Guidot & F.C. Prodhon, Jean Prouv Volume II, Galerie
Patrick Seguin, 2007, meuble damphithtre rapprocher p. 406.
- Peter Sulzer, Jean Prouv oeuvre complte Volume 3 1944-1954,
Birkusser, 2005, p. 250.
Provenance : Provenance :
- Chandigarh, Inde - Chandigarh, Inde
Rfrence : Rfrence :
- Patrick Seguin, Le Corbusier Pierre Jeanneret, - Patrick Seguin, Le Corbusier Pierre Jeanneret,
Chandigarh India 1951-66, Galerie Seguin, 2014, Chandigarh India 1951-66, Galerie Seguin, 2014,
p. 214 et p. 285. p. 182 et p. 288.
54
Bureau console
Teck teint noir
76 x 170 x 70 cm.
Circa 1955
Provenance :
- Chandigarh, Inde
- Collection de M. & Mme D., sud de la France
Console Desk
Black tainted teak
29.92 x 66.93 x 27.56 in.
Rfrences :
- Catalogue dexposition Pierre Jeanneret, Galerie Downtown,
2015, p. 62 et p. 63
- Patrick Seguin, Le Corbusier Pierre Jeanneret, Chandigarh India
1951-66, Galerie Seguin, 2014, p. 258 et p. 288.
Provenance :
- Chandigarh, Inde.
Rfrences :
- Revue Architectural Digest, France, mai 2010, p. 52.
- Barbel Hogner, Living with Le Corbusier-Chandigarh, JovisVerlag, 2010,
p. 33.
- Revue Architectural Digest, France, Dcembre 2014 - Janvier 2015,
p. 136 et p. 137.
- Amie Siegel, Catalogue, Prem Krishnamurthy, 2014, p. 33, p. 288
et p. 289.
- Revue Elle Dcoration, janvier 2016, p. 119.
Suite de 4 appliques LC II
Aluminium, acier
16 x 59 x 41 cm.
Guilux, 1954
Rfrence :
- Arthur Regg, Le Corbusier Meubles et intrieurs 1905-1965,
Fondation Le Corbusier, 2012, p. 351.
61
Set of 3 shelves
Painted perforated metal
9.84 x 23.62 x 6.70 in.
Rfrence :
Revue Le dcor daujourdhui, n 94, 1955, p. 211.
049 M AT H I E U M AT E G O T ( 1 9 1 0 - 2 0 0 1 )
Table
Mtal, verre, laiton
68 x 62 x 66.5 cm.
Ateliers Matgot, 1956
Table
Mtal, glass, brass
26.77 x 24.41 x 26.18 in.
Rfrences :
- Philippe Jousse & Caroline Mondineau, Mathieu Matgot,
Jousse Entreprise, 2003, p. 89 et p. 90.
- Patrick Favardin, Mathieu Matgot, Norma, 2014, p. 100.
63
Paire de tabourets
Teck, toile de coton
39 x 45 x 47 cm.
Circa 1955
Provenance :
- Chandigarh, Inde
- Collection de M. & Mme D., sud de la France
Pair of stools
Teak, upholstery
15.35 x 17.72 x 18.5 in.
Provenance :
- Chandigarh, Inde
Amrchair
Teak, cane
29.13 x 20.08 x 20.08 in.
Rfrence :
- Catalogue dexposition Pierre Jeanneret,
Galerie Downtown, 2015, p. 95.
64
Provenance :
- Central state Library, Chandigarh, Inde.
- Collection de M. & Mme D., sud de la France
Double-sided bookcase
Teak, teak-veneered wood
76.77 x 47.64 x 25.2 in.
Rfrence :
- Catalogue dexposition Pierre Jeanneret, Galerie Downtown, 2015, p. 104 et p. 105.
Like a modern Prometheus wanting to offer men the greater light, Serge Mouille has devoted his life to creating and making lighting devices whose sensuality or
audacity continue to fascinate an ever growing public today.
After attending the Paris cole des Arts Appliqu he became known in 1953 when he collaborated with Jacques Adnet for whom he conceived lamps that have
become iconic.
In contrast to models derived from Italian design, which he considered to be too complicated, Serge Mouille developed his own streamlined aesthetics which endows
his lighting devices with a sculptural dimension, thanks to an absence of redundant decoration.
In 1959, while Serge Mouille was away in a sanatorium, his gallerist took the liberty of fitting parts of Tuyau lamps with a base created by Isamu Noguchi
from Japan.
Steph Simon defended the idea that he originated those hybridizations, therefore denying that he owed Serge Mouille any royalties since he alone could claim
ownership of those odd creations.
As could be expected Serge Mouille was not exactly thrilled about that turn of events and to protect his interests he took pains to have his initial model registered
so that nothing like that unfortunate experience would happen again.
The Noguchi-Mouille lamps have become rare and sought-after models that are the delight of enlightened enthusiasts all over the world.
66
Lampadaire
Mtal, aluminium
H. : 204 cm.
Steph Simon, 1959
Floor lamp
Metal, aluminium
80.31 in.
Lampe tuyau
Aluminium, mtal
40 x 20 x 20 cm.
Steph Simon, 1959
Rfrence :
- Pierre Emile Pralus, Serge Mouille un classique franais,
Du Mont Thou, 2006, p. 239.
68
Lampe agrafe
Aluminium, mtal
H. : 52 cm.
Steph Simon, 1959
Lampe
Aluminium, mtal
35 x 24 cm.
Steph Simon, 1959
Desk lamp
Painted aluminium, painted tubular steel
13.78 x 9.45 in.
69
Provenance :
- Chandigarh, Inde
- Collection de M. & Mme D., sud de la France
Daybed
Teak, hide
14.57 x 78.74 x 31.3 in.
Rfrences :
- Patrick Seguin, Le Corbusier Pierre Jeanneret, Chandigarh India 1951-66,
Galerie Seguin, 2014, p. 152-155 et p. 282.
- Amie Siegel, Catalogue, Prem Krishnamurthy, 2014, p. 114.
71
Paire de chauffeuses
Teck, poulain
69 x 57 x 65 cm.
Circa 1955
Provenance :
- Chandigarh, Inde.
Rfrences :
- Eric Touchaleaume & Grald Moreau, Le Corbusier Pierre Jeanneret -
Laventure indienne, Gourcuff Gradenigo, 2010, p. 559 sous le numro
PJ-SI-18-A
- Patrick Seguin, Le Corbusier Pierre Jeanneret, Chandigarh India 1951-66,
Galerie Seguin, 2014, p. 152 et p. 285.
Table
Cramique, bois
Signe sous le plateau
20 x 42 x 42.5 cm.
Circa 1960
Table
Ceramic, oak
Underside signed
7.87 x 16.54 x 16.73 in.
74
Paire de chauffeuses
Teck, toile de coton
84 x 57 x 80 cm.
Circa 1960
Provenance :
- Chandigarh, Inde.
Pair of armchairs
Teak, fabric
33.07 x 22.44 x 31.5 in.
Rfrences :
- Arthur Regg, Le Corbusier Meubles et intrieurs 1905-1965, Fondation Le
Corbusier, 2012, p. 167.
- Patrick Seguin, Le Corbusier Pierre Jeanneret, Chandigarh India 1951-66,
Galerie Seguin, 2014, p. 147, p. 151 et p. 283.
- Amie Siegel, Catalogue, Prem Krishnamurthy, 2014, p. 226 et p. 227.
- Catalogue dexposition Pierre Jeanneret, Galerie Downtown, 2015, p. 84
et p. 85.
- Carlos Mota, A touch of style, Assouline, 2015, n.p.
Poule
Grs
Sign
H. : 37 cm.
Circa 1960
Scultpture
Sandstone
Unsigned
H. : 14.57 in
Pichet
Grs
Sign
28 x 38 cm.
Circa 1960
Pitcher
Sandstone
Unsigned.
11.02 x 14.96 in.
76
Pichet
Grs
Sign
H. : 74 cm
Circa 1960
Large pitcher
Sandstone
Unsigned.
H. : 29.13 in.
Pair of armchairs
Metal, cashmere, fabric
28.35 x 29.53 x 30.31 in.
Rfrence :
- Revue des Arts mnagers, mars 1960, p. 77.
78
Cache-pot
Cramique
Signe
H. : 25.5 cm.
Circa 1960
Vase
Ceramic
Underside signed
H. : 10.04 in.
Table
Mtal, formica
74 x 85 x 85 cm.
Airborne, 1954
Dining table
Metal, plastic-laminated wood
29.13 x 33.46 x 33.46 in.
Rfrence :
- Pierre Deligny, Airborne, Les modernistes, 2012,
tabouret au modle reproduit p. 36.
79
068 B R U N O M AT H S S O N ( 1 9 0 7 - 1 9 8 8 )
Fauteuil Eva
Toile de coton, bois
83 x 72 x 48 cm.
Dux, circa 1950.
Provenance :
- Collection dun architecte, Ardche, France.
Eva armchair
Fabric, oak
32.68 x 28.35 x 18.9 in.
Rfrences :
- Jerryll Habegger & Joseph H. Osman, Sourcebook of modern
funiture, Norton & Company, 2005, p. 399.
- Charlotte & Peter Fiell, Design scandinave, Taschen, 2005, p.
67 et p. 245.
- Charlotte & Peter Fiell, 1000 chairs, Taschen, 2000, p. 231.
80
Tabouret 60
Bouleau
44 x 34 cm.
Artek, circa 1935
Provenance :
- Collection dun architecte, Ardche, France.
Stool
Birch
17.32 x 13.39 in.
Rfrences :
- Thomas Kellein, Alvar & Aino Aalto, Hatje Cantz, 2005, p. 91.
- Klaus-Jurgen Sembach, Modern Furniture Design 1950 - 1980s,
Schiffer, 1997, p. 23.
070 A LVA R A A LT O ( 1 8 9 8 - 1 9 7 6 )
Provenance :
- Collection dun architecte, Ardche, France.
Cantilevered chair
Elm, ash
29.92 x 18.9 x 26.38 in.
Rfrences :
- Christine Diegoni, Gino Sarfatti, Leibovitz, 2008, p. 161.
- Thomas Kellein, Alvar & Aino Aalto, Hatje Cantz, 2005,
p. 88 et p. 89.
81
Rfrence :
A.-K. Huusko, P. Jrvelnen, Muotoilun Aarteet -
Suomalaisia Valaisimia, Wsoy, 2013, p. 53.
Rfrences :
- Jerryll Habegger & Joseph H. Osman, Sourcebook of
modern Furniture, Norton & Company, 2005, p. 360.
- Bernd Polster, Dictionnaire du design Scandinave, Du
Seuil, 1999, p. 205.
82
Paire de fauteuils
Peau de mouton, htre
73 x 68 x 93 cm.
Stagelse Mobelvaerk, 1940
Pair of armchairs
Sheepskin, beech
28.74 x 26.77 x 36.61 in.
From the legendary Tokyo by Charlotte Perriand to the equally famous Pirogue by Eileen Gray, not to mention the well-known Daybed by Pierre Jeanneret, the
reclining chair seems to be a compulsory exercise for any creator who wishes to leave his mark in the world of design.
It cant be denied that in the collective unconscious, the picture of a certain kind of femininity continues to circulate through mythical representations such as
Madame Rcamier painted by David or Venus Vitrix by Canova picturing the luscious Pauline Borghese.
Daybed, meridian, duchess brise and other forms of seats that invite a posture evocative of erotic innuendoes offer a young creator an opportunity to display
his originality.
The Art Deco era has spread the Stream Liner style and introduced the public to rot-resistant hardwood recliners and sun decks.
The model created by Pierre Guariche for the M.A.I Gallery hints at the aesthetic trends of the beginning of the 50s and suggests reclining and relaxing in style
and comfort.
Because of its function, the chair is submitted to all kinds of constraints and must follow very strict construction rules in order to provide safety and robustness.
To achieve that result, it was necessary to use sturdy dense wood that allowed perfectly adjusted assembly.
This model illustrates the style of Pierre Guariche, which is both rational and accessible, and one easily recognizes the refined profile of seats that were carefully
and cleverly conceived by a designer who didnt forget that he was an engineer before he came to furniture creation.
86
075 PIERRE GUARICHE (1926-1995)
Sige de repos
Frne, drap de laine
67 x 120 x 57 cm.
Galerie M.A.I, circa 1953
Rfrence :
- Catalogue de vente, Pierre Guariche Galerie MAI, n.p.
Paire de chauffeuses G2
Mtal, tissu
68 x 58 x 76 cm.
Airborne, 1954
Rfrences :
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs,
2010, p. 74.
- Patrick Favardin, Les dcorateurs des annes 50, Norma, 2002, p. 184.
- Pierre Deligny, Airborne, Les modernistes, 2012, p. 53.
Lampadaire G54
Aluminium, mthacrylate, mtal
120 x 14 cm.
Disderot, circa 1959
Rfrences :
- Patrick Favardin, Les dcorateurs des annes 50, Norma, 2004, p. 221.
- Clmence & Didier Krzentowski, The complete Designers lights
(1950-1990), JRP Ringier, 2011, p. 130.
- Catalogue de lexposition Mobi Boom, Muse des Arts Dcoratifs,
2010, p. 267.
88
Lit de repos
Acajou, laine, mtal
54 x 233 x 85,5 cm.
Huchers Minvielle, 1955
Rare Daybed
Mahogany, painted metal, fabric
21.26 x 91.73 x 33.66 in.
Table allonges
Palissandre, mtal, laiton
80 x 122 cm.
Circa 1955
080 T R AVA I L I TA L I E N
Bibliothque
Mtal, laiton, bois
177 x 151 x 30 cm.
Circa 1960
Bookcase
Painted metal, brass, oak
69.69 x 59.45 x 11.81 in.
90
Ensemble comprenant une table et 6 chaises n 620 Dining table and set of 6 chairs
Palissandre, cramique, cuir Ceramic, leather, rosewood
Table : 73 x 220 x 80 cm. 28.74 x 86.61 x 31.5 in.
Chaise : 81 x 50 x 47 cm. 31.89 x 19.69 x 18.5 in.
Bernini, 1964
Rfrence :
Estimation : 6 000 - 8 000 - Giuliana Gramigna, Repertorio 1950-1980, Arnoldo Mondadori,
1985, p. 206.
91
Rfrence :
- Giampiero Bossoni, Made in Cassina, Cassina, 2009, p. 164.
Enfilade
Palissandre, noyer, laiton
120 x 240 x 53 cm.
Circa 1950
Sideboard
Rosewood-veneered wood, rosewood, satinwood-veneered wood, glass, brass.
47.24 x 94.49 x 20.87 in.
Rfrences :
- Irene de Guttry & Maria Paola Maino, Il Mobile Italiano degli anni 40 E 50,
Laterza, 2010, secrtaire rapprocher p. 117.
- Guglielmo Ulrich, Arredatori Contemporanei, 1949, n.p.
94
Table 180
Palissandre, bois, laiton
73 x 125 cm.
Sormani, 1963
Occasional table
Stainedwood, painted wood. brass
28.74 x 49.21 in.
Rfrences :
- Giuliana Gramigna, Repertorio 1950-1980, Arnoldo Mondadori, 1985, p. 169.
- Catalogue dexposition Galleria Civica, Ico Parisi & architecture, Flaminio Gualdoni, 1990, p. 17.
Table
Acier, palissandre
72,5 x 165 x 119 cm.
Arflex, 1962
Dining table
Rosewood, steel
28.54 x 64.96 x 46.85 in.
087 T R AVA I L I TA L I E N
Bureau
Formica, laiton, bois
78 x 173 x 83 cm.
Circa 1950
Desk
Wood, brass, plastic-laminated wood
30.71 x 68.11 x 32.68 in.
98
Table
Verre, noyer
77 x 180 x 89 cm.
Circa 1955
Provenance :
- Rsidence prive, Bologne, Italie.
Dining table
Glass, italian walnut
30.31 x 70.87 x 35.04 in.
99
Paire de fauteuils
Velours, laiton
106 x 85 x 85 cm.
Circa 1955
Pair of armchairs
Velvet, brass
41.73 x 33.46 x 33.46 in.
100
Canap
Velours, laiton
80 x 260 x 110 cm.
Circa 1955
Sofa
Velvet, brass
31.5 x 102.36 x 43.31 in.
Canap
Tissu, laiton
75 x 218 x 83 cm.
Directional, 1957
Sofa
Upholstered, brass
29.53 x 85.83 x 32.68 in.
Rfrence :
- Pierre Emmanuel Martin Vivier, Max Ingrand Du verre la lumire,
Norma, 2009, p. 207.
Lampadaire Auriga
Verre, acier
H. : 168 cm.
Prototype
1976
Note :
- Un certificat de Ducio Trassinelli
sera remis lacqureur.
103
Lampadaire
Laiton
119 x 155 cm.
Circa 1970
Floor lamp
Polished brass
46.85 x 61.02 in.
Lampe
Laiton
H. : 80 cm.
Circa 1955
Table lamp
Brass
H. : 31.5 in.
096 T R AVA I L I TA L I E N
Lampadaire
Mtal, laiton
H. : 182 cm (ajustable)
Circa 1955
106
Suspension 2042/9
Laiton, verre
48 x 74 x 74 cm.
Arteluce, 1963
Chandelier
Brass, metal
19 x 29 x 29 in.
Rfrences :
- Clmence & Didier Krzentowski, The complete Designers lights II, JRP Ringier,
2012, p. 181.
- Catalogue de vente Arteluce, 1973, n.p.
098 G I N O S A R FAT T I ( 1 9 1 2 - 1 9 8 5 )
Lampadaire 1063
Mtal
H. : 215 cm.
Arteluce, 1954
Note :
- Un certificat des archives Sarfatti sera remis lacqureur.
Rfrences :
- Clmence & Didier Krzentowski, The complete Designers lights II, JRP Ringier, 2012,
p. 129.
- Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume I, Umberto
Allemandi & C, 2003, p. 86.
- Piero Castiglioni & Chiara Baldacci & Giuseppe Biondo, Lux Italia 1930- 1990,
Berenice, 1991, p. 56.
- Catalogue de lexposition Lumires je pense vous, Centre Georges Pompidou &
Herm, 1985, p. 138.
- Christine Diegoni, Gino Sarfatti, Leibovitz, 2008, p. 44 et p. 45.
- Marco Romanelli & Sandra Severi, Gino Sarfatti opere scelte 1938-1973 selected
works, Silvana, 2012, p. 252.
Lampe
Mtal, laiton
37 x 37 cm.
Sticker de lditeur
Stilnovo, circa 1950
Table lamp
Painted metal, brass
Decal manufacturers label
14.57 x 14.57 in.
Provenance :
- Collection dun architecte, Ardche, France.
Armchair
Painted metal, fabric
36.22 x 29.92 x 29.13 in.
Rfrences :
- Giampiero Bosoni & Federico Bucci, Il design e gli interni di Franco Albini, Electa,
2009, p. 106.
- Giampiero Bosoni & Paola Albini & Chiara Lecce, Franco Albini, 24 Ore cultura,
2011, p. 82.
- Giuliana Gramigna, Repertorio 1950-1980, Arnoldo Mondadori, 1985, p. 107.
- Federico Bucci & Fulvio Irace, Zero Gravity : Franco Albini Costruire le modernit,
Electa, 2006, p. 123.
- Andrea Branzi, Il design italiano degli anni 50, RDE, 1985, p. 79.
- Irene de Guttry & Maria Paola Maino, Il Mobile Italiano degli anni 40 E 50, Later-
za, 2010, p. 11.
- Catalogue de lexposition Il modo italiano, Design et avantgarde en Italie au XXe
sicle, Skira, 2006, p. 260.
110
Fauteuil Gabriella
Bois, simili cuir
Plaque de lditeur
105 x 59 x 60 cm.
Walter Ponti, circa 1971
Gabriella chair
Lacquered hardwood, skai
41.34 x 23.23 x 23.62 in.
Rfrences :
- Lisa Licitra Ponti, Gio Ponti : The complete work, 1923-1978,
Mit Press, 1990, p. 245.
- Ugo La Pietra, Gio Ponti, Rizzoli, 2009, p. 38.
Table Architettura
Bois, mlamin
76 x 115 cm.
Fornasetti, circa 1960
Dining table
Oak, lithographic transfer print on lacquered wood,
29.92 x 45.28 in.
112
Set of 4 chairs
Upholstered, wood
33.46 x 16.54 x 16.54 in.
Rfrences :
- Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume I, Umberto Allemandi & C,
2003, p. 116.
- Ugo La Pietra, Gio Ponti, Rizzoli, 1995, p. 335.
Paire dappliques
Plexiglas, laiton
95 x 36 x 12 cm.
Circa 1955
116
Suspension
Mtal, laiton
120 x 150 cm.
Stilnovo, circa 1955
Ceiling light
Painted metal, brass
47.24 x 59.06 in.
Rfrence :
- Clmence & Didier Krzentowski, The complete Designers lights II, JRP Ringier, 2012, p. 98.
118
Rfrences :
- Revue Domus #323, October 1956, n.p.
- Roberto Aloi, Mobili Tipo, Ulrico Hoepli, 1956, n.p.
119
Fontana Arte is a reference in international design.This Italian company, specialized in designing glass furniture, was founded in 1881 by Luigi Fontana, who
at first was more interested in making furniture for the building industry.
At the end of the 19th century, the company changed its activity towards the creation of more artistically ambitious pieces that met the expectations of more
sophisticated customers.
In 1931, the architect Gio Ponti became its artistic director and set out to find a subtle balance between art and industry.
Twenty-five years later, Max Ingrand took up the same functions.
Riding on the fantastic dynamics of what is known as the 30 year post war boom, he took advantage of the thriving economy to develop the production without
compromising the high quality standards that had built the reputation of the company.
From 1954 to 1967, the disciple of Jacques Gruber investigated the multiple opportunities of glass material, whether it be satin-finish glass, bricks, polished or
frosted slabs, sometimes cut with a chisel, or tinted, transparent or frosted glass.
To gaze at a piece of furniture created by Max Ingrand is to dive into the mysterious world of alchemy.
With him, the word sublimation comes to its full meaning and one cannot help but be captivated by the combination of powerful metallic materials such as iron,
steel, brass or gilded bronze coming together mysteriously under the magic spell of silica, potash, lead oxide and other enigmatic ingredients.
The blue concave table with a flat glass top dating from 1958 is very characteristic of that tremendous ability to create a dreamlike atmosphere.
More than a mere designer, Max Ingrand is an outstanding master glass-maker who knew how to play with materials and technology in order to expand conti-
nuously the limits of his bold creativity that was always respectful of his pared-down sense of aesthetics.
120
Table 1774
Acier, bronze, verre
38 x 81 cm.
Fontana Arte, circa 1960
Rfrences :
- Laura Falconi, Fontana Arte : Una Storia Trasparente, Skira, 1998, p. 114,
p. 214, fig. 114.
- Franco Deboni, Fontana Arte : Gio Ponti, Pietro Chiesa, Max Ingrand,
Umberto Allemandi, 2012, p. 409.
122
Paire de suspensions
Verre, mtal, laiton
124 x 64 cm.
Venini, circa 1955
Commode
Bois, laiton
83 x 117 x 63 cm.
Circa 1950
Sideboard
Oak, brass
32.68 x 46.06 x 24.8 in.
Rfrence :
- James Archer Abott, Jansen, Acanthus Press, 2006, p. 248.
125
Suspension
Verre, acier
95 x 83 cm.
Venini, circa 1950
Ceiling light
Glass, steel
37.4 x 32.68 in.
126
Suspension
Verre, laiton
100 x 60 cm.
Venini, circa 1940
Chandelier
Inciso clear glass, tubular brass, brass
39.37 x 23.62 in.
Rfrence :
- Anna Venini Diaz De Santillana, Venini 1921-1986, Skira, 2000, p. 184.
127
Chauffeuse Whist
Acier, cuir
63 x 70 x 70 cm.
Airborne, circa 1964
Rfrence :
- Pierre Deligny, Airborne, Les modernistes, 2012, p. 88 et p. 89.
Whist chaise
chrome-plated steel, leather
24.02 x 65.35 x 27.56 in.
Chaise CM 131
Bakelite, mtal, caoutchouc
76 x 39 x 48 cm.
Thonet, 1953
Provenance :
- Collection dun architecte, Ardche, France.
Chair
Metal, bakelite
29.92 x 15.35 x 18.9 in.
Rfrence :
- Catalogue de lexposition Mobi Boom, Muse des Arts
Dcoratifs, 2010, p. 124.
Fauteuil Culbuto
Polyester, cuir
115 x 75,5 x 93 cm.
Knoll, 1970
Culbuto chair
Lacquered fiberglass, leather
45.28 x 29.72 x 37.8 in.
Rfrences :
- Anne Bony, Les annes 60, Du Regard, 2003, p. 32.
- Philippe Garner, Sixties design Taschen, 2001, p. 108.
- Charlotte & Peter Fiell, 70s Decorative Art, Taschen,
2000, p. 404.
- Catalogue de lexposition Mobi Boom, Muse des Arts
Dcoratifs, 2010, p. 114 et p. 115.
130
Provenance :
- Collection dun architecte, Ardche, France.
Elephant chair
Fiberglass, lacquered metal
45.67 x 53.94 x 56.69 in.
Rfrence :
- Revue Mobilia #156, juillet 1968, n.p.
132
118 E L E A N O R E P E D U Z Z I & V E L I B E R G E R & K L A U S V O G T & R I VA H E I N Z
ULRICH
Organic Sofa
leather, upholstery
30.12 x 220.47 x 36.61 in.
Rfrences :
- David A. Hanks & Anne Hoy, Design 1950-2000, Flamarion, 2000, p. 83.
- Jerryll Habegger & Joseph H. Osman, Sourcebook of modern furniture, Norton & Company, 2005,
p. 496.
- Delphine Antoine, Yves Gastou antiquaire du futur, Norma, 2011, p. 118.
133
119 GIOFFREDO REGGIANI
Paire dappliques
Acier, mtal
Sticker de lditeur
45 x 70 cm.
Circa 1970
Pair of sconces
Steel, painted metal
Decal manufacturers label
17.72 x 27.56 in.
Rfrences :
- Michle Chartier, Yonel Lebovici : Sculpteur de
haut Niveau, 1995, p. 42.
- Catalogue de lexposition, Yonel Lebovici, 15
Square de Vergennes, 2003, p. 54 et p. 55.
134
Table bureau
Fonte daluminium, verre
70 x 155 x 70 cm.
Lacloche, 1966
Dining table
Glass, cast aluminium
27.56 x 61.02 in x 27.56 in.
Rfrence :
- Patrick Favardin & Guy Bloch-Champfort, Les dcorateurs des annes 60-70, Norma, 2007,
p. 182.
Lampe
Inox, perspex
70 x 46 x 32 cm.
Circa 1960
Rfrence :
- Guitemie Maldonado, Jacques Quinet, LAmateur, 2000, p. 186.
136
Bureau
Inox, verre
70 x 190 x 86 cm.
Circa 1970
Desk
Glass, chrome-plated steel
27.56 x 74.8 x 33.86 in.
Enfilade
Palissandre, acier, cuir
66 x 120 x 46 cm.
Knoll, circa 1955
Sideboard
Steel, leather, rosewood
25.98 x 47.24 x 18.11 in.
Note :
- Un certificat de Ducio Trassinelli sera remis lacqureur.
Table lamp
Steel, glass
29.13 x 23.62 cm.
138
Paravent
Acier, acrylique
180 x 183 cm.
Circa 1970
Rfrence :
- Anne Bony, Meubles et dcors des annes 70, Du Regard, 2005, table basse rapprocher p. 94.
139
Paire de lampadaires
Acier, bois
H. : 175 cm.
Verre et Lumire, 1979
140
Pair of armchairs
Steel, leather
25.2 x 36.22 x 33.07 in.
Mobile Stabile
Acier
Monogramm, dat 73.
H. : 54 cm.
1973
Mobile sculpture
Steel
Monogrammed, dated
21.26 in.
142
Sculpture
Acier
64 x 109 x 51 cm.
Pice unique
1969
Sculpture
Steel
25.2 x 42.91 x 20.08 in.
Rfrence :
- Denys Chevalier, Pillet : Sculptures dans lArchitecture,
Georges Fall, 1974, p. 42.
Justine Posalski
Sculpture
Bois
Sign et dat 72
Pice unique
80.5 x 80 x 12.5 cm.
1972
Sculpture
Oak
Signed and dated 72
31.69 x 31.5 x 4.92 in.
145
132 K A Z U H I D E TA K A H A M A ( 1 9 3 0 )
Provenance :
- Collection dun architecte, Ardche, France.
Rfrence :
- Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume I,
Umberto Allemandi & C, 2003, p. 218.
146
Lampadaire Kazuhi
Tissu, mtal, acier
H. : 159 cm.
Sirrah, 1975
Provenance :
- Collection dun architecte, Ardche, France.
Floor lamp
Metal, steel, fabric
H. : 62.6 in.
Rfrences :
- Giuliana Gramigna, Repertorio del Design Italiano 1950-2000,
Volume I, Umberto Allemandi & C, 2003, p. 245.
- Anne Bony, Meubles et dcors des annes 70, Du Regard, 2005,
p. 114.
148
Canap
Fer patin, toile de coton
69 x 154 x 90 cm
Circa 1962
Sofa
Patinated steel, upholstery
27.17 x 60.63 x 35.43 in.
149
Ceiling light
Laquered metal
14.57 x 13.78 in.
Rfrence :
- Catalogue de lexposition, Verner Panton The collected works,
Vitra Design Museum, 2000, p. 124.
137 V E R N E R PA N T O N ( 1 9 2 6 - 1 9 9 8 )
Ceiling light
Enameled metal, oak
62.99 x 27.56 in.
Rfrence :
- Catalogue de lexposition, Verner Panton The collected works, Vitra Design Museum, 2000,
p. 288.
150
Suspension
Verre
H. : 80 cm.
Venini, 2001
Ceiling light
Blown glass, plate glass, painted steel
H. : 31.5 in.
Rfrence :
- Giuliana Gramigna and Paola Biondi, Il design in Italia :
Dellarredamento domestico, Umberto Allemandi, p. 432.
152
Sushi II chair
Felt, textiles, plastic, EVA, brushed tubular steel
33.46 x 18.9 x 22.05 in.
Rfrence :
- Campana Brothers complete works, Rizzoli, 2010, p. 270.
Vase
Pewter
Underside signed
6.69 x 12.6 in.
Vase Shiva
Cramique
Signe.
H. : 23,5 cm.
Bd Ediciones, 1973
Provenance :
- Collection dun architecte, Ardche, France.
Shiva vase
Glazed ceramic
Molded manufacturers mark and signature to underside
H. : 9.25 in.
Rfrences :
- Fulvio Ferrari, Ettore Sottsass. Tutta la ceramica, Allemandi, 1996,
p. 178.
- Catalogue de lexposition Il modo italiano, Design et avantgarde
en Italie au XXe sicle, Skira, 2006, p. 343.
Coupe fruit
Bois, mtal
25,4 x 31,1 cm.
EAD, 1974
Fruit bowl
Walnut, painted perforated metal.
10 x 12.24 in.
Rfrence :
- Ettore Sottsass Drawings over 4 Decades, Gallery, 1990,
p. 56.
154
Lampe
Cramique
21 x 10 cm
Pice unique
Circa 2005
Table lamp
Glazed ceramic
8.27 x 3.94 in.
Vase
Cramique, verre
24 x 20 x 8 cm.
Edition 33 exemplaires
Short Stories, 2003
Vase
Glazed ceramic, glass
9.45 x 7.87 x 3.15 in.
155
Prototype vase
glazed earthenware
11.81 x 15.94 x 12.01 in.
Prototype vase
Glazed earthenware
7.87 x 15.94 x 12.01 in.
156
Prototype vase
Plexiglas
23.23 x 7.48 x 2.16 in.
Prototype vase
Plexiglas
10.24 x 15.75 x 12.6 in.
157
Provenance :
- Collection dun architecte, Ardche, France.
2 Broadway chairs
Expoxy resin, stainless steel, plastic
Underside of each seat molded DES. GAETANO PESCE BERNINI ITALY in reverse.
29.53 x 19.29 x 15.75 in.
Rfrences :
- Giulana Gramina, Repertorio del Design italiano 1950-2000, vol II, Umberto Allemandi, 2003,
p. 483.
- Catalogue de lexposition, Gaetano Pesce Le temps des questions, Centre Georges Pompidou,
1996, p. 73.
- Catalogue de lexposition Il modo italiano, Design et avantgarde en Italie au XXe sicle, Skira,
2006, p. 309.
158
150 G A E TA N O P E S C E ( 1 9 3 9 )
Sofa
Fabric, painted wood, painted metal
45.67 x 89.76 x 35.43 in.
Rfrences :
- Gilles De Bure, Intrieurs Le mobilier Franais 1965-1979, Du
Regard, p. 126 et p. 127.
- David A. Hanks & Anne Hoy, Design 1950-2000, Flamarion,
2000, p. 158.
- Giampiero Bossoni, Made in Cassina, Cassina, 2009, p. 268.
Provenance :
- Collection dun architecte, Ardche, France.
Chair
Laminate over wood
25.59 x 20.08 x 20.08 in.
Provenance :
- Collection dun architecte, Ardche, France.
Bookcase
Laminate over wood
87.01 x 59.45 x 12.6 in.
Rfrences :
- Barbara Radice, Memphis, Rizzoli, 1984, p. 37.
- Juli Capella & Quim Larrea, Designed by architects in
the 1980s, Rizzoli, 1988, p. 141. Nina Brsen Holtmann,
Italian Design, Taschen, 1994, p. 9.
160
Coffee table
Epoxy resin, pigments, vintage glass, blown glass, marble dust,
Brass
Made by hand as unique piece
21.65 x 53.15 x 32.28 in.
162
Quand vous
v ous observ
obser v ez la natur
na ture,
e, cest si int
in t ense,
si incro
incr o y abl
able
e Quand on voit
v oit les
l es cristaux, par ex e x empl
emple,
e,
on est merv
mer v eill, on voudr
v oudrait
ait les
l es con
c ontt empl
empler
er en grand,
gr and,
quils soient
soien t plus gros,
gr os, ete t cest impossibl
impos siblee
Mon tra
tr a v ail consist
c onsiste
e donc essa
es sayy er de sublimer la natur na ture,
e,
lui rendr
r endre
e hommage
Desire
Desire Mejer
154 S H I R O K U R A M ATA ( 1 9 3 4 - 1 9 9 1 )
Provenance :
- Collection dun architecte, Ardche, France.
Rfrences :
- Charlotte & Peter Fiell, 1000 lights 1960 to present,
volume 2, Taschen, 2005, p. 25.
- Catalogue de lexposition, Shiro Kuramata 1934-1991,
Hara Museum, 1996, p. 187.
Mirror
Nickel-plated steel
42.52 x 36.61 in.
165
Pair of chairs
Nickel-plated steel
35.04 x 21.26 x 23.23 in.
Rfrences :
- Albert Bangert & Karl Michael Armer, Design les annes 80, Du Chne, 1991,
p. 57.
- Jerryll Habegger & Joseph H. Osman, Sourcebook of modern Furniture, -Norton
& Company, 2005, p. 217.
166
Panace rug
Wool
79.53 x 56.3 in.
Rfrence :
- Catalogue de lexposition Shiro Kuramata 1934-1991, Hara Museum of Contemporary Art,
1996, p. 193.
167
A I P I L L E T, E . 130
AALT O , A . 69 - 70 I NG R A ND , M . 92 - 108 P O NTI , G . 101 - 103 - 104
ALB INI, F. 100 I NTR O I NI , V. 128 P O U C H A I N , J. 61 - 62 - 63
ARCTAN DER , P. 73 P R O U V E , J. 40 - 41
ARRED O LU CE 105 J
JA NS E N 110
JE A N, P. 126 Q
B JE A NNE R E T, P. 04 - 15 - 35 - 36 37 Q U I N E T, J. 122
- 38 - 39 - 42 - 43 - 45 - 50 - 51 - 52 -
B ARB I, T. 94
57 - 58 - 60
B ED IN, M . 151
B O ESEN , V. 74 JO U V E , G . 31 - 32 - 33 - 34 R
B O Y ER, M . 127 R A NC I L L A C , B . 117
B O ZZI, A . 107 R E G G I A NI , G . 119
B RANZI, A . 145 - 146 - 147 - K R O S ATI , G .
148
KNO L L , F. 124 R O Y E R E , J. 67
B UFFA, P. 83 KU R A M ATA , S . 154 156 - 157
S
C L S A R FATTI , G . 97 - 98
CAMPA N A, H & F. 139 L E C O R B U S I E R 04 - 05 - 06 - 07 35 S C A R PA , C . 112
- 39 - 45 - 46
CAPRO N , R . 65 S O TTS A S S , E . 138 - 140 - 141 - 142
CH AP O , P. 25 - 26 - 28 - 29 - 30 L E G A L L , H . 134 - 155 143 - 144 - 152
CO H EN, R . 123 L E B O V I C I , Y. 120 S TI L N O V O 99 - 106
CO LET T E, F. 129
CO PPO LA, S. 81
M T
D M A L L E T S TE V E N S , R . 02 TA KA H A M A , K. 132 - 133
D E CARLI, C. 82 - 84 M ATE G O T, M . 47 - 48 - 49 TE N R E I R O , J. 131
D EREL, J. 59 M ATH S S O N , B . 68 TL O U PA S , P. 135
M A Z Z A , S . 86 TR A S S I NE L L I , D . 93 - 125
M C C O B B , P. 91 TY NE L L , P. 71
F M O U I L L E , S . 22 - 53 - 54 - 55 56
FO RNAS ET T I, P. 102 M O U R G U E , O . 113 - 114
V
V E N I N I 109 - 111
G N V O N P E LT 153
GILLET, G. 08 NO G U S H I , I . 53 - 54 - 55 - 56
GIO RD A N I, P. 88
GUARICHE, P. 75 - 76 - 77 - 78
GUY S, R . 66 P
PA N TO N, V. 136 - 137
PA O L O Z Z I , L .
H PA R I S I , I & L 85
H ELD , M . 116 PA U L I N , P. 115
H ENNIN GSEN , P. 72 P E D U Z Z I , E . 118
H ERB ST, R . 01 P E R R I A ND , C . 04 - 05 - 06 - 07 - 09
- 10 - 11 - 12 - 13 - 14 - 16 - 17 - 18
H IQ UILY, P. 121
19 - 20 - 21 - 23 - 24
PA O L O Z Z I , L 64
P E S C E , G . 149 - 150
ART ANCIEN BIJOUX
Grgoire Lacroix Delphine Orts
glacroix@leclere-mdv.com orts@leclere-mdv.com
TAPIS PHOTOGRAPHIES
Yohann Gissinger Guillaume Raoux
gissinger@leclere-mdv.com raoux@leclere-mdv.com
GRAPHISME
Carole Silvestri
silvestri@leclere-mdv.com
PHOTOGRAPHE
Timoth Leszczynski
timothe@leclere-mdv.com
NOM :
PRENOM :
ADRESSE :
VILLE :
TEL. (DOMICILE) : TEL. (PORTABLE) :
E-MAIL : FAX :
ORDRE DACHAT
Aprs avoir pris connaissance des conditions de vente dcrites dans le catalogue, je dclare les accepter et vous prie dacqurir
pour mon compte personnel aux limites indiques en euros, les lots que jai dsigns ci-dessous. (Les limites ne comprenant
pas les frais).
N
DATE DMISSION
EMIS PAR
Les ordres dachat doivent imprativement nous parvenir au moins 24 heures avant la vente. A renvoyer :
LECLERE Maison de Ventes aux enchres / 5, rue Vincent Courdouan 13006 Marseille - Fax : 04 91 67 36 59
Je confirme mes ordres ci-dessus et certifie lexactitude des informations qui prcdent.
DATE ET SIGNATURE :
Les informations recueillies sur les formulaires denregistrement et/ou dordre dachat sont obligatoires pour participer la vente puis pour la prise en compte et la gestion de ladjudication
par Leclere MDV. Elles sont aussi destines vous prsenter les autres offres de Leclere MDV ou, sauf si vous cochez les cases ci-dessous, de ses partenaires.
Je ne souhaite pas que la maison de vente aux enchres madresse ses offres.
Je ne souhaite pas que les partenaires de la maison de vente aux enchres madressent leurs offres.
Vous pouvez connatre et faire rectifier les donnes vous concernant, ou vous opposer pour motif lgitime leur traitement ultrieur, en adressant une demande crite accompagne dune
copie de votre pice didentit la maison de ventes, 5 rue Vincent Courdouan 13006 Marseille ou par email contact@leclere-mdv.com
Leclere MDV est adhrent au Registre central de prvention des impays des commissaires-priseurs auprs duquel les incidents de paiement sont susceptibles dinscription. Les droits
daccs, de rectification et dopposition pour motifs lgitimes sont exercer par le dbiteur concern auprs du Symev, 15 rue Freycinet 75016 Paris.
Enchres
Le Commissaire-priseur de ventes volontaires dirigeant la vacation a seul qualit pour dterminer les mises prix et paliers d'enchres.
Moyens d'enchrir
Il est possible d'enchrir lors de la vente en tant prsent ou reprsent au jour de la vente, par le biais de sites internet, ou en laissant un ordre d'achat crit
auprs de LECLERE MDV au plus tard la cloture de l'exposition. Les ventuels cots pour enchrir par tel ou tel moyen incombent celui qui choisit dy
recourir. Pour tre admis enchrir, toute personne devra pralablement s'tre fait enregistrer auprs de LECLERE MDV en lui communiquant ses nom et
prnom et en lui remettant copie dune pice didentit en cours de validit. Si lenchrisseur porte son enchre pour le compte dun tiers, il devra remettre
copie de celle de ce tiers. Si ce tiers est une socit, il devra en indiquer la dnomination sociale et justifier tre habilit la reprsenter en remettant copie
de son extrait Kbis ou de tout document quivalent. Pour des raisons techniques ou autres, il est possible que LECLERE MDV ne soit pas en mesure de joindre
l'enchrisseur en cas de demande denchre tlphonique, ce dont elle ne peut tre tenue pour responsable. Les personnes stant inscrites disposent dun
droit daccs et de rectification des informations les concernant, intgres au fichier client de LECLERE MDV, destinataire de ces donnes.
Exportation
Il appartient tout enchrisseur de se renseigner pralablement la vente s'il envisage d'exporter un lot. Le retard ou le refus par l'administration des
documents de sortie du territoire ne justifiera pas la remise en cause de la vente ni un quelconque ddommagement. La TVA collecte pourra tre rembourse
l'adjudicataire condition que celui-ci prsente dans les dlais et forme prvus par la rglementation en vigueur les documents justifiant de l'exportation
du vhicule achet.
Dfaut de paiement
A dfaut de paiement par l'adjudicataire, le vendeur pourra opter soit pour la remise en vente du lot sur ritration d'enchres aux frais de ladjudicataire
aprs mise en demeure reste infructueuse adresse dans un dlai de trois mois compter de l'adjudication, soit pour la rsolution de plein droit de la vente,
soit pour laction en paiement, sans prjudice des dommages-intrts dus par l'adjudicataire dfaillant. Dans l'hypothse d'une rsolution, outre le montant
des frais de vente, LECLERE MDV sera en droit de demander l'adjudicataire des intrts au taux lgal sur les frais de vente par jusqu' complet paiement du
prix, outre sil y a lieu les autres frais engendrs par ce dfaut de paiement. Dans l'hypothse d'une action en paiement, LECLERE MDV sera en droit dexiger
de ladjudicataire les sommes ci-dessus, outre le prix revenant au vendeur augment des intrts au taux lgal jusqu' complet paiement du prix. Dans
l'hypothse d'une ritration des enchres, l'adjudicataire dfaillant sera de plein droit redevable de l'intgralit des cot supplmentaires rsultant de sa
dfaillance, de la diffrence entre le premier prix d'adjudication et le prix d'adjudication obtenu sur ritration d'enchres si celui-ci lui est infrieur, outre le
montant des frais revenant LECLERE MDV au titre de la premire adjudication augment des intrts au taux lgal.
Magasinage et transport
Il appartient l'adjudicataire de retirer son lot ds la fin de la vacation, ainsi que de le faire assurer ds l'adjudication prononce, lensemble des risques,
notamment de perte, dgradations, vol ou autres, tant ds cet instant transfr celui-ci. Les lots achets peuvent tre retirs, sans frais, aprs la vente ou
le lendemain de la vente avant 10h lHtel Drouot. Les achats seront ensuite tous transfrs au garde-meuble :
PANAME SERVICES
14 rue Edouard Vaillant, Btiment B. 93500 PANTIN / +33 (0)9 67 45 58 17 / expedition@panameservices.fr
Il ny aura pas de frais de stockage durant les 15 jours suivant la vente. Au del, des frais de stockage seront directement facturs par Paname Services
(5 euros/lot/jour - 10 euros/meuble/jour).
Litiges
La responsabilit de LECLERE-MDV se prescrit par cinq ans.
03 Fvrier 2017
Paris - Drouot
ART URBAIN
24 Fvrier 2017
Paris - Drouot
MAITRES ANCIENS
28 Fvrier 2017
Marseille
COLLECTIONS RESULTAT
03 Mars 2017 DESIGN // Vente du 11 octobre 2016
Marseille
MOBILIER & OBJETS DART
21 Mars 2017
Paris - Drouot
vendu
BIJOUX 155 000
11 octobre 2016
ACTUALITE
PARADISE / A SPACE FOR SCREEN ADDICTION
PRE-HISTORIC
by charlotte cosson & emmanuelle
luciani
avec Andrew Humke, Aurora Pelizzi, Bella Hunt & DDC,
Gabriel Mo, Robert Rush
Du 24.02.2017 au 28.04.2017
Vernissage le 23.02.2017 19h00
CONFERENCES
Confrences la Maison de ventes
Marseille 18h00 - Entre libre
7 fv - ARTISTES FEMMES
la parenthse enchante : XVIIIE-
XIXE sicles
Confrence et signature de Sverine Sofio
GEORGES JOUVE (1910-1964)
Suite de deux lampes en cramique.
www.artefact-leclereblog.fr
INFOS
EXPOSITION
Lesprit du Bauhaus
Jusquau 26 fvrier 2017
LA REVOLUTION DU BAUHAUS :
L'AVANT-GARDISME
PAR LE RETOUR AUX SOURCES
Architectes, sculpteurs, peintres, tous nous devons retourner lartisanat, crit larchitecte Walter Gropius
dans son manifeste du Bauhaus. Une ambition dont la rcente exposition du Muse des arts dcoratifs ex-
plore les sources, mais aussi la postrit. Au point de nous convaincre que lesprit du Bauhaus ne peut tre
circonscrit une poque, tant il exprime des vrits ternelles.
Le Bauhaus nat officiellement en 1919, au moment o, aprs t parce quil nexiste aucune diffrence, quant lessence, entre
meurtrie pas la premire guerre vritablement industrielle, lEu- lartiste et lartisan. Une gnalogie bien illustre par lexposition
rope voit merger un courant artistique affirmant solennellement sa lorsquelle met en regard les objets emblmatiques de William
volont de perptuer les qualits de lancien monde pour survivre Morris, Henry Van de Velde, Peter Behrens, et des artistes des
au dsastre engendr le triomphe dune technique dshumanise. Wiener Werksttte tels que Koloman Moser ou Josef Hoffmann,
Toutefois, comme toute naissance, celle-ci a t prcde dune avec les uvres produites par le Bauhaus.
gestation dont lexposition du Muse des arts dcoratifs se fait un
bel cho. La rvolution comme retour aux sources
Le Bauhaus avant le Bauhaus Nul doute que les membres du Bauhaus ne se seraient pas offus-
qus dtre ainsi inscrits dans une longue histoire tant leur pratique
En effet, comme tous les mouvements majeurs, le Bauhaus nest rejette dlibrment la figure individualiste et romantique de lar-
pas n du nant. Il puise ses sources dans une effervescence ar- tiste solitaire puisant dans son seul for intrieur les sources de son
tistique et intellectuelle qui, aprs avoir t provisoirement inter- gnie. En tmoignent les principes dorganisation de lcole du
rompue par la Premire guerre mondiale, a rejailli avec plus de Bauhaus directement inspirs de modles emprunts au Moyen
force au sein du pays vaincu quest alors lAllemagne. En crant le ge : la hirarchie matres-compagnons-apprentis comme systme
Staatliches Bauhaus Weimar, Walter Gropius poursuit les am- de transmission, lartisanat comme fondement de lenseignement,
bitions de Henry Van de Velde prnant lalliance de lindustrie, de ainsi que la collaboration de tous les arts en vue dun projet com-
la modernit et de lesthtique propre la Deutscher Werkbund, mun. Dans sa radicalit, cette qute conduira mme certains ar-
(association darchitectes et dindustriels, dont il tait membre aux tistes tels Johannes Itten et Wassily Kandinsky puiser une part de
cts de Peter Behrens). leur inspiration dans la pense taoste, les philosophies et spiritua-
lits orientales apparaissant alors comme un fructueux contrepoint
Et la filiation ne sarrte pas l ! Car les concepts dfendus par lar- au froid cartsianisme occidental. La rvolution du Bauhaus nest
chitecte anversois taient eux-mmes directement issus des ides pas tant un chambardement quun retour aux sources, au sens
forges par William Morris et les Arts and Crafts britanniques ju- presque cosmique du terme.
geant caduque la distinction entre les beaux-arts et la production
artisanale. Gropius reprend donc ces ides en les radicalisant Dans lesprit de leurs contradicteurs, une telle faon de faire au-
pour en faire, selon son manifeste, le cur de la pdagogie rait pu favoriser la simple perptuation ou lacadmisme. Or, il
www.artefact-leclereblog.fr
www.artefact-leclereblog.fr
Vente en prparation
POST-WAR
& CONTEMPORAIN
Lundi 27 mars 2017