Lot Essay
This design was first exhibited at the 1925 Exhibition in Paris.
Three versions are known to have been produced: For the French Embassy lounge (1925); for the Villa Hyères (Compte de Noailles), roof terrace, (1927); for Hélène Berheim, Comtesse de Noailles, (circa 1927).
The difference between this design and the chair in the previous lot demonstrates how successfully Chareau was able to move from his more classically-inspired Art Deco creations to full-scale Modernism, both of which were successfully incorporated in his magnum opus, the Maison de Verre.
See: Les Arts de La Maison, Autumn, 1925, pl. VI.
Art et Décoration, July-Dec, 1928, Vol. LIV, p. 17.
Vellay and Frampton, p. 159.
Three versions are known to have been produced: For the French Embassy lounge (1925); for the Villa Hyères (Compte de Noailles), roof terrace, (1927); for Hélène Berheim, Comtesse de Noailles, (circa 1927).
The difference between this design and the chair in the previous lot demonstrates how successfully Chareau was able to move from his more classically-inspired Art Deco creations to full-scale Modernism, both of which were successfully incorporated in his magnum opus, the Maison de Verre.
See: Les Arts de La Maison, Autumn, 1925, pl. VI.
Art et Décoration, July-Dec, 1928, Vol. LIV, p. 17.
Vellay and Frampton, p. 159.