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Set of Six Black Charlotte Perriand Meribel Chairs, Original Black c. 1960s
About the Item
Set of six Charlotte Perriand black Meribel chairs.
France c. 1960s.
Black paint is completely original and has beautiful patina (ie. they weren’t painted after the fact, as is the case with many black Meribel chairs). Seats have been hand-rushed to spec so they’re ready for use.
When Perriand was awarded the contract for Les Arcs ski resort, she and Steph Simon were looking to revamp some of her existing designs. They decided to offer the Meribel chair in black for the first time
- Creator:Charlotte Perriand (Designer)
- Dimensions:Height: 28.5 in (72.39 cm)Width: 16.5 in (41.91 cm)Depth: 16.5 in (41.91 cm)
- Sold As:Set of 539
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:c. 1960s
- Condition:Rewoven. Wear consistent with age and use. Seats have been hand-rushed to spec so they’re ready for use. Black paint is completely original, not painted after the fact as is common for these chairs.
- Seller Location:Brooklyn, NY
- Reference Number:1stDibs: LU6858236869522
Charlotte Perriand
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 Grand 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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