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拍品專文
Pierre Chareau's dual training as both architect and decorator emerges in his Bureau-Bibliothèque at the Pavillon de l'Ambassade Française in 1925, where the library's modular design and palm wood interior is enhanced by similarly minimal, yet luxurious and modern furnishings, including the Armchair model no. MF208-217. The experimental interior of the Study-Library, characterized by an open design, domed ceiling, and most ingeniously the fan-like closing mechanism allowing for adjustments to privacy and lighting, were pioneering feats of modern design by Chareau and integral to the presentation of the 'new' interior promoted by the Société des Artistes Décorateurs in the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes. The combination of deluxe materials and minimal, streamlined configurations were essential to the ethos of the 1925 Exposition, where artistry met industry in the heralding of a new age of French and International Design.
Chareau's armchair model no. MF208-217, originally designed in 1923, features the union of minimalist modernity and bourgeois elegance. It's inclusion in the French Pavillion study library brought harmony to the interior, where the fan-like structure at the dome is mirrored through the fanned-out legs of the armchair, tying the interior together top to bottom. While Chareau's designs, especially those from the later 20s and 30s, include fragmented and asymmetrical structures in alabaster and wrought iron requiring an inherent and complete mastery of balance, weight, and composition, these elements can be seen in the 1925 bibliothèque, and even earlier in 1923 with armchair model no. MF208-217, where all stylistic facets of the design are harmoniously juxtaposed.
The armchair's frame, with its angular arms, exposed back supports, and fanned legs reflect the streamline and minimalist elements of early modernist design, emerging from developments in industry and commercialized production seen in the beginnings of the 20th century, and featured prominently in the 1925 Exposition. Yet Chareau distinguishes himself through fine materials and finishes, seen in the present lot through his use of rich walnut wood and enveloping upholstery. A fan of exotic wood veneers, and unexpected contrasts between opposing materials, Chareau's model MF208-217 armchair epitomizes the contrasts inherent to modern French decorative arts, where centuries of craftsmanship and artistry collide with the innovations of the industrial age.
Chareau's armchair model no. MF208-217, originally designed in 1923, features the union of minimalist modernity and bourgeois elegance. It's inclusion in the French Pavillion study library brought harmony to the interior, where the fan-like structure at the dome is mirrored through the fanned-out legs of the armchair, tying the interior together top to bottom. While Chareau's designs, especially those from the later 20s and 30s, include fragmented and asymmetrical structures in alabaster and wrought iron requiring an inherent and complete mastery of balance, weight, and composition, these elements can be seen in the 1925 bibliothèque, and even earlier in 1923 with armchair model no. MF208-217, where all stylistic facets of the design are harmoniously juxtaposed.
The armchair's frame, with its angular arms, exposed back supports, and fanned legs reflect the streamline and minimalist elements of early modernist design, emerging from developments in industry and commercialized production seen in the beginnings of the 20th century, and featured prominently in the 1925 Exposition. Yet Chareau distinguishes himself through fine materials and finishes, seen in the present lot through his use of rich walnut wood and enveloping upholstery. A fan of exotic wood veneers, and unexpected contrasts between opposing materials, Chareau's model MF208-217 armchair epitomizes the contrasts inherent to modern French decorative arts, where centuries of craftsmanship and artistry collide with the innovations of the industrial age.