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Charlotte Perriand Midcentury Bauche Chair No 19, France, 1950s

About

Midcentury chair by French designer Charlotte Perriand and edited by Steph Simon. Solid wood and rush. This model of chair, known as number 19, is documented in the book "Charlotte Perriand Un Art d'Habiter" J Barsac Ed Norma pages 334-335.  

Details

  • Date of manufacture
    1950s
  • Period
  • Condition
    Good. Some straw strings repaired.
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 33.86 in. x W 15.75 in. x D 15.75 in.

    H 86 cm x W 40 cm x D 40 cm

  • Seller location
    La Teste De Buch, FR
  • Seller reference number
    IMBODA079
  • Reference number
    LU275739384563

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About Charlotte Perriand (Designer)

A pioneer of modernism in France, Charlotte Perriand was one of the most influential figures in 20th-century design and architecture. In her long career, Perriand’s aesthetic grammar constantly evolved, moving from the tubular steel furniture of the “Machine Age” to a lyrical naturalism.

     Perriand’s studies at the Ecole de L'Union Centrale de Arts Decoratifs left her enthralled by Le Corbusier and his vision of a new, rational architecture. In 1924, she joined his studio to design furniture along with Pierre Jeanneret, Corbu’s partner and cousin. Together, they devised some of the finest examples of early modernist furniture, including two icons of the era: the “B306” chaise with its swooping frame and hide upholstery; and the chunky, steel-framed “Gran Confort” club chair. Collaborative design produced another Perriand triumph: in the early 1950s, she and Jean Prouvé were engaged to produce desks, worktables and bookcases for the University of Paris. The bookcases — slim pine shelves with brightly painted aluminum dividers — are minimalist masterpieces.

     By the end of that decade, Perriand’s aesthetic had changed completely from the earliest days of her career. She produced a series of furniture in ebonized wood: chairs with gentle S-curve legs, front and back; tables with elliptical tops. In the mid-1960s, she adopted an almost rustic look, designing simple chairs with dowel-cut frames and rush seats. Yet everything in Perriand’s oeuvre is beautiful, whether it’s the centerpiece of a décor or an accent. Charlotte Perriand’s work is in every great design collection, public and private. Works on these pages will show you why.

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