© Philippe Migeat - Center Pompidou, MNAM-CCI / Dist. NMR-GP

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For an all-too-brief period spanning approximately a dozen years, Pierre Chareau designed exquisite interiors for the progressive bourgeoisie of interwar Paris. Chareau and his wife Dollie belonged to this cultivated set, who were as forward-thinking in their taste for art, music, theater, and film as they were in their politics.

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Though best remembered for the Maison de Verre, the home and medical office he completed for Jean Dalsace and his wife Annie Bernheim Dalsace in Paris in 1932, Chareau’s creative output extended to furniture, lighting, and even film sets. The marvelous Maison de Verre still stands, but no other original interiors survive. The few objects that remain (many having been scattered due to the circumstances of World War II) are the only artifacts left from this brilliant, yet short-lived career.

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Pierre Chareau Set of four armchairs, model no. MF 275, circa 1924

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Beginning in 1923, Chareau belonged to the Société des Artistes Décorateurs, which also included Maurice Dufrène, René Herbst, and André Groult. Chareau distinguished himself from this cohort of extraordinary talent through his penchant for combining forged iron (executed by the ironsmith Louis Dalbet) with fine exotic woods, often incorporating ingeniously devised moving parts, and always favoring flat, unadorned surfaces that highlighted the natural beauty of the wood.

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Chareau’s avant-garde designs embodied Modernism, yet remained luxurious...
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Pierre Chareau Set of four "Gondole" armchairs, model no. MF 11, circa 1922

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Pierre Chareau Armchair, model no. MF 1002, 1924-1927

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Although this was precious, hand-crafted furniture for distinguished clients, Chareau was also a modernist working in the same time and place as Le Corbusier, who declared that "A house is a machine for living in," a statement which certainly applies to the Maison de Verre. Chareau’s avant-garde designs embodied Modernism, yet remained luxurious, tied to the high-quality, labor-intensive craftsmanship that had set French decorative arts apart since the eighteenth century.

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To this end, Chareau incorporated tapestries designed by Jean Lurçat (likely executed by one of the storied French tapestry manufacturers such as Aubusson or Gobelins), as evidenced by this pair of chauffeuses. Similarly, he enlisted fine cabinetmaking firms like Chanaux & Pelletier to execute his designs, such as the "Tulip" daybed, which bears the firm’s CP stamp. On the other hand, pieces such as the pair of tabourets bear the designer’s own branded monogram.

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Pierre Chareau Pair of chauffeuses, model no. MF 313, circa 1926

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Pierre Chareau "Tulip" daybed, model no. MP 102, circa 1923

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Pierre Chareau Pair of tabourets, model no. MT 1015, circa 1923

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To learn more about the exhibition "Pierre Chareau: Modern Architecture and Design" at the Jewish Museum read our interview with curator Esther da Costa Meyer.

\n","publishDate","2017-05-30T19:21:12.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/13127348/important-works-by-pierre-chareau","displayOrder","auctionEditorialID",147,"editorialID","flocklerID",13127348,"https://flockler.com/thumbs/sites/889/136_001--wrkub6gc5x_s600x0.jpg","Fulvio Ferrari and Napoleone Ferrari of Museo Casa Mollino describe the history of a Modernist skiers' resort through a set of bunk beds designed by Carlo Mollino.","Carlo Mollino's Casa del Sole","

The project for "Casa del Sole" originated in 1948 in Cervinia, at the border of Switzerland in the Alps, in a country made poor by war yet ready to boom. It was a resort for skiers’ weekends, an idea anticipating what is today considered the most efficient solution for winter sport: a condominium made of small rational apartments. The original project included a bar and restaurant, food shop, ballroom, laundry, and storage. After designing the building and its interior Carlo Mollino was asked in 1953 to design furniture to make the apartments more complete, including this set of beds.

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Courtesy Museo Casa Mollino

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The project is among the most Modernist of Mollino. The mountain environment and the purpose of the building, which is sport, led him to focus on straight engineering matters. The bed is made of rectangular section wooden laths. The sides of the bed are thicker where they join the legs. The beds can be used singularly but are equipped with ski-like brass fasteners that can be easily used to superimpose one bed onto the other.

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Courtesy Museo Casa Mollino

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The structure of the beds ideally and visually are a continuation of the lines of the façade of the "Casa del Sole" building, which in turn was inspired by the traditional wooden mountain houses of that valley. The beds were made complete by a coat hanger that can be placed on both ends, a little table with a Formica top, which can be folded to save space, and a bedside table with a drawer which pivots open so that a person lying in bed can easily use it.

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The wood was partially darkened, partially left natural in order to create contrast, the plastic laminated to give a sense of Modernism and all the metal details are in brilliant polished brass giving to the furniture an elegant and technical quality.

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Fulvio Ferrari and Napoleone Ferrari are the founders and curators of Museo Casa Mollino in Turin.

\n","2017-05-29T16:52:46.000000Z","https://www.phillips.com/article/13076555/carlo-mollinos-bunk-beds-for-casa-del-sole",2,145,156,13076555,"https://flockler.com/thumbs/sites/889/101_001--e206kshcm1_s600x0.jpg","Deyan Sudjic, director of London's Design Museum revisits a seminal year for Ron Arad and provides new insight into a remarkable genre-defying work of art, utility and design. ","Unexplored Territory: A Monumental Work by Ron Arad","

Ron Arad "Oh, the Farmer and the Cowman Should be Friends," 2009

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For Ron Arad 2009 was a significant year. He had moved far beyond the margins of the design world and occupied the center ground. He was approaching his 60th birthday with a body of work that spanned all the way from the mass-produced to the one-off. Once he had been a young disrupter, pushing aside the previous generation. Now he had reached the height of his powers.

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The year opened with "No Discipline," a powerful retrospective exhibition at the Centre Pompidou in Paris. A version traveled to The Museum of Modern Art in New York and London’s Barbican Centre the following year gave him his own retrospective.

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Ron Arad "Oh, the Farmer and the Cowman Should be Friends," 2009 (detail)

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At the same time, Arad’s first major work of free standing architecture, the Holon Design Museum, close to Tel Aviv, was nearing completion. And he launched a collection of very ambitious new pieces at the London gallery of Timothy Taylor, of which "The Farmer and the Cowman Should be Friends" was one. It’s a remarkable and imposing piece on an architectural scale.

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Arad’s journey from salvaging cast-of car components in order to make the "Rover Chair," to teaching himself rudimentary welding techniques, to working with mass-produced plastics, to editioned gallery pieces, to architecture, was documented in all those exhibitions.

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"The Farmer and the Cowman," fabricated in 2009, as well as the rest of the group looked forward rather than back. They were a confident demonstration of Arad’s continuing commitment to exploring new ground. They share a remarkable command of form and technique. But even as they came as close as anything in Arad’s output to art, they retained the sense of a utilitarian purpose. "The Farmer" (the title is from a Richard Rodgers song written for the musical Oklahoma in 1943), could be used as a book shelf. And indeed it was designed with as much attention paid to how it appears when filled with books as it does when empty.

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Ron Arad "Oh, the Farmer and the Cowman Should be Friends," 2009 (detail)

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But utility is not its primary purpose. It made an appearance, if only on film, in Arad’s MoMA show. But there was another piece there which echoed its cellular structure as if to show that such a directly representational inspiration as a shelf system modeled on a map of the continental United States, while not territory that Arad had explored before, was not entirely distinct from the rest of his output. This is work that plays between different forms of steel, rough and smooth, reflective and matte.

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This is of course work that depends on the skill of the maker every bit as much as Arad’s early work carried out in his own workshop, and in some cases with his own hands. But those skills now call on specialists much like Jeff Koons or Anish Kapoor would do, creating an otherworldly presence, one that feels as if it is weightless and had effortlessly come into being as if from a magical machine rather than by any physical interventions.

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Deyan Sudjic, OBE, is the director of the Design Museum in London.

\n","2017-05-29T15:40:54.000000Z","https://www.phillips.com/article/13056825/unexplored-territory-a-monumental-work-by-ron-arad",1,144,154,13056825,"https://flockler.com/thumbs/sites/889/6_001--lg5sa7vfze_s600x0.jpg","Perri Lee Roberts describes the symbiotic relationship between Gio Ponti and Piero Fornasetti who, together, created exuberantly decorated interiors throughout the 1950s.","Passion for Fornasetti","

Gio Ponti and Piero Fornasetti Rare "Madrepore" dining table and set of four armchairs, circa 1950

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The architect Giò Ponti (1891–1979) first became aware of the work of the talented painter and designer Piero Fornasetti (1913–1988) at the Fifth Milan Triennial in 1933 and praised it in an article in the design magazine Domus. Besides mutual admiration, Ponti and Fornasetti shared a deep respect for Italy’s visual heritage, a passion for Renaissance and neoclassical motifs and architectural vocabulary, and a refined taste for decorative pattern and bright color. Late in his career, Ponti looked back upon his relationship with Fornasetti: "If it were worthwhile to chronicle my life as an architect a chapter (beginning in 1950) could be: ‘Passion for Fornasetti.’ What does Fornasetti give me? With his prodigious printing process...an effect of lightness and evocative magic."

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They began working together in 1940 on furniture for the Italian glass company Fontana Arte, but it was in the following decade that their symbiotic relationship truly blossomed. Together they created numerous exuberantly decorated interiors for private homes, offices, shops, and ships of the Italian Finmare cruise line, as well as many individual pieces of furniture, including desks, tables, chairs, bookshelves, and headboards.

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"Fish, Seahorses, and Crayfish" ("Pesci, cavallucci, marini e astici") installed in the exhibition "Italy at Work," Brooklyn Museum © Salvatore Licitra, Gio Ponti Archives

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Designed by Ponti, made by the master cabinetmaker, Giordano Chiesa, and decorated by Fornasetti, the rare "Madrepore" dining table and four armchairs are an outstanding example of their highly successful collaboration. The elegant proportions of the wood table, its slender, elongated legs, and brass sabots are characteristic features of Ponti’s furniture designs.

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Typical of Fornasetti’s decorative approach, he applied lithographic prints to the brightly painted surfaces of the furniture. In this instance, he scattered large black and white images of different varieties of stony coral (madrepore in Italian) over the top, sides, and legs of the table. Silhouetted against the deeply saturated turquoise background, the decoration brings to mind the coral reefs found in the coastal waters of tropical islands. The wonderfully imaginative theme of the ensemble is further enhanced by the fact that the top of the table is concave and covered with glass, thereby creating the illusion of a tidal pool.

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Gio Ponti and Piero Fornasetti Rare "Madrepore" dining table and set of four armchairs, circa 1950 (detail)

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In the 1950s Ponti and Fornasetti collaborated on a great number of chairs, most of which were made by the family workshop of Figli di Amadeo Cassina in Meda, Italy. The armchairs that accompany the "Madrepore" table feature a slanted backrest intended to increase the sitter’s comfort. Ponti introduced this distinctive design element around 1949 and later incorporated it into the design of his famous "Superleggera" chair. The original upholstery of the armchairs has not survived, but they have been recovered with a modern reproduction of the hand-printed fabric designed by Fornasetti, featuring coral motifs comparable to those decorating the surfaces of the table.

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Marine themes first appeared in Fornasetti’s decorative repertoire in 1947, in his decorations for the first-class bar area of the Conte Grande cruise ship that incorporated ocean-foor scenes of fish, algae and coral reefs. In the 1950s, Fornasetti employed images of fish, shells, coral, and algae for a half-dozen projects, including a rectangular table top, the back of a fireplace, and round wood and metal table tops. One of the tables, "Fish, Seahorses, and Crayfish" ("Pesci, cavallucci, marini e astici") was created as part of the dining room installation by Ponti and Fornasetti for "Italy at Work," a landmark exhibition of design and craft which traveled to twelve museums across the United States from 1950 to 1953.

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Perri Lee Roberts is the curator of "Modern Living: Giò Ponti and the 20th-Century Aesthetics of Design," Georgia Museum of Art, University of Georgia, June 10–September 17, 2017.

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156

Franca Stagi and Cesare Leonardi

"Dondolo" chair

完整圖錄內容

Franca Stagi and Cesare Leonardi