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Wooden Coffee Table like Perriand, Chapo, Jeanneret, Tripod Base Wabi-Sabi 1940

About the Item

French massive oak wooden coffee table like Charlotte Perriand, Pierre Chapo, Jeanneret, trapezoidal tripod base, Wabi-Sabi. It also reminds the work of Baley and Zimbacca architects. 1940s . Brutalist work - popular. . Trapezoidal tripod base. . Dimensions : Height : 38 cm Length : 91 cm . Sublime patina. . Charlotte Perriand was born in 1903 in Paris to a father (Charles Perriand) a seamstress, and a mother (Victorine Denis) a seamstress for haute couture. After three years spent in Moulery in Burgundy where she was raised by her maternal great-uncle, she returned to the 1st arrondissement of Paris, Place du Marché-Saint-Honoré with her parents2. In 1920 she entered the school of the Central Union of Decorative Arts. She graduated in 19253, she exhibited with the school wall panels representing nine muses for a music salon at the International Exhibition of Modern Decorative and Industrial Arts in 19252. She presented a "living room corner" at the Salon des artistes decorators of Paris from 1926, including an armchair, a pedestal table with a glass top and a library-secretary which obtains one of the rave reviews4,5. She married in December of the same year with Percy Scholefied, a British twenty years her senior, merchant in fabrics and relation of her parents. The couple moved into an old workshop opposite the Saint-Sulpice church6. LC7 swivel chair (1927), Museum of Decorative Arts, Paris. She made a name for herself at the age of 24 with her Bar under the roof7, also comprising pedestal tables, low and bar stools with cruciform or circular legs and a bench, in chromed steel, anodized aluminum and glass, created for her apartment-workshop in place Saint-Sulpice, which was presented at the Salon d'Automne in 1927 to critical acclaim and exhibited a cabinet in kingwood, glass and metal at the Salon des artistes décorateurs in 19278. On the advice of Robert Mallet-Stevens, Marie-Laure and Charles, Viscount of Noailles acquire a folding game table for their villa in Hyères. Then noticed by the two architects, she began a collaboration that lasted ten years (1927-1937) with Pierre Jeanneret and the cousin of the latter Le Corbusier, who integrated her into the team of his agency by entrusting her with the responsibility of " home equipment”. The “Ospite Extendable Table” in chromed steel, lacquered wood and rolling rubber sheet9, the “LC8 Swivel Stool”, the “LC7 Swivel Seat” in chromed steel and leather10 and the pedestal table in chromed steel and circular glass top, also made in 1927 for his apartment in rue Saint-Sulpice11, were exhibited in his Dining Room 1928 at the Salon des artistes décorateurs in 1928. . She became responsible for the furniture and equipment, created in 1928 with Jeanneret and Le Corbusier, for the villa La Roche (current headquarters of the Le Corbusier Foundation) and the villa Church12, including the famous "Chaise longue LC4"13, the "Armchair with tilting backrest LC 1", the "Grand Confort armchair" and its variants, the "Table LC 10-P" in steel tube and glass, the "Table with ovoid base LC 6" equipped with an ovoid tube in lacquered sheet steel found by chance in a catalog of aeronautical products and small rubber shock absorbers supporting the glass top, as well as cabinets, the whole presented the following year under the name Interior equipment of a dwelling at the Salon d'Automne of 1929. This furniture is produced by Thonet and more recently by Cassina (en)14. In 1929-1930, she designed a studio-bar15 for the private mansion of Jean and Joël Martel, at no. 10 rue Mallet-Stevens in Paris, completed by Robert Mallet-Stevens in 1927 and also decorated from 1928 by Francis Jourdain , as well as a bathroom seat in chromed steel and terry cloth. Alongside René Herbst, Pierre Chareau and Eileen Gray, she was one of the founding members of the UAM (Union of Modern Artists)16 in 1929, chaired by Mallet-Stevens. It also maintains close ties with the workshops of Jean Prouvé in Nancy but also with the architects Paul Nelson or the Lagneau-Weill-Dimitrijevic (LWD) workshop. In April 1929, she published the “Wood or Metal” manifesto in London in the magazine The Studio. In 1931-1933, she participated with Le Corbusier's agency in equipping the Cité-refuge of the Salvation Army and the Swiss Pavilion of the university campus in Paris. In 1934, she drew the plans for the House at the water's edge. With Le Corbusier, Pierre Jeanneret, Louis Sognot and René Herbst, she presented La Maison du Jeune Homme at the 1935 Universal Exhibition in Brussels. At that time, she was one of the few women to make a name for herself in the field of architecture16. From the 1940s, his style was strongly influenced by a long stay in the Far East, and in particular in Japan from 1940 to 194217.

Dimensions:

Height: 14.97 in (38 cm)Width: 35.83 in (91 cm)Depth: 35.83 in (91 cm)

Materials and Techniques:

Wood

Place of Origin:

France

Period:

Mid-20th Century

Date of Manufacture:

1940

Condition:

Seller Location: