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Pair of Pierre Jeanneret & Charlotte Perriand Stools

About

Pair of stools designed by Charlotte Perriand & Pierre Jeanneret from the hotel "les Gadins" in Courchevel, France Alps, circa 1960. Two different sizes. In good original condition, with minor wear consistent with age and use, preserving a beautiful patina. Pierre Jeanneret (22 March 1896 – 4 December 1967) was a Swiss architect who collaborated with his cousin, Charles Edouard Jeanneret (who assumed the pseudonym Le Corbusier), for about twenty years. In 1922, the Jeanneret cousins set up an architectural practice together. They designed many buildings, including a number of villas and vacation houses and renovated existing buildings as well. Their working relationship ended when Pierre joined the French Resistance and Le Corbusier did not. However, they collaborated once again after the War, on the plan and architecture for the city of Chandigarh in India. Charlotte Perriand (1903-1999) She was born in Paris in 1903 and attended the E´cole de l'Union centrale des Arts de´coratifs from 1920-1925. Charlotte Perriand designed furniture made of anodized aluminium and chromium-plated steel, showing it at the 1927 "Salon d'Automne" in Paris. After meeting Le Corbusier, Charlotte Perriand worked with him and Pierre Jeanneret until 1937. The revolutionary tubular steel furnishings and system furniture designed by the three were presented as "E´quipement de l'habitation" (home equipment) at the 1929 "Salon d'Automne", where they were widely acclaimed. In 1930 the Union Des Artistes Modernes (UAM) was founded in Paris, a group that viewed itself as a countermovement challenging such establishment organizations as the "Salon d'Automne" and also advocated Art de´co and Modernism. From 1931 Charlotte Perriand showed her own work solo there. In 1937 Charlotte Perriand and Pierre Jeanneret collaborated on designing a mountain chalet of sheet aluminium, which they showed at the "Exposition Internationale des Arts et Techniques dans la Vie Moderne" and later they came up with plans for prefab houses made of aluminium. In 1940 Charlotte Perriand became a design consultant to the Japanese Board of Trade. She lived in Japan until 1946 and from then on Charlotte Perriand's designs reveal overtones of the Japanese feeling for form, as shown by the 1953 chair "Synthe`se des Arts".

Details

  • Period
  • Materials and techniques
  • Condition
    Good.
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 21.66 in. x Dm 13.39 in.

    H 55 cm x Dm 34 cm

  • Diameter
    13.39 in. (34 cm)
  • Seller location
    Barcelona, ES
  • Sold As
    Set of 2
  • Reference number
    LU142729266133

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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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