Bourgeois Boheme Atelier Settees

The Flying Carpet or Tappeto Volante armchair is an iconic seat with a base and an armrest in beech wood, the seat, and the back are made with polyuret...

These “Piumino” seats are an exceptional model of the trio of Milanese architects, known throughout the world for their ingenious extensions. The shape and size are the most captivating elements, but thanks to the architectural know-how of the designers, even the construction of the chairs does not disappoint. The seats are molded in foam and upholstered in soft folded cognac synthetic leather. The foam and leather materials ensure extreme seating comfort. Unlike the trio's iconic "Joe Sofa...

This pair of armchairs, typical Italian design of the 1960s, has been restored and reupholstered in black velvet.

The Rive Droite armchair by Patrick Norguet is supported by a structure in polyurethane foam with a metal insert, combined with a seat made of poplar plywo...

Pair of Piumotto armchairs by Arrigo Arrigoni for Busnelli from the 1970s. Upholstery in genuine black leather. Feet in plastic.

Upholstered in the round, the Belle Sofa showcases a confluence of pretty curves, with a low back that wraps around a loose elliptical cushion. A hand-cast base of solid metal bracke...

Armchair produced by Casa e Giardino in the style of Gio Ponti, the upholstery needs to be redone, while the structure is robust and solid.

The Claire sofa by DeMuro Das has a crescent-shaped back supported by six solid bronze legs with an antique finish. Construction includes solid hardwood frame with European webbing a...

The Rive Droite armchair by Patrick Norguet is supported by a structure in polyurethane foam with a metal insert, combined with a seat made of poplar plywo...

Made to order Twig Side Chair / Armchair in Cast Bronze with Leather Seat Cushion by Elan Atelier. Inspired by Giacometti, the twig chair is a sculptural form cast in solid bronze w...

The Treble side or armchair by DeMuro Das has a curved profile supported by a hand-cast, three-legged base in solid satin bronze. A solid hardwood frame with European webbing and mul...

'Left At The End of the Corridor' conversation piece by Lionel Jadot for Everyday Gallery, 2020 Collectible Design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...