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Pierre Chareau: Modern Architecture and Design – Virtual Tour

March 27, 2017
Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Chana Orloff
Bust of Pierre Chareau, 1921
Bronze with black patina
Private collection

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Piet Mondrian Designs for the library study of Ida Bienert, 1926 Published in Meubles, 1929 In 1929 Chareau published his portfolio Mobliers (furniture) in the lavish series L'Art International d'Aujourd'hui, authored by the most distinguished designers and artists of the day. In addition to Chareau's furniture and this print by Mondrian, it features a cover with the Art Deco typeface Bifur, created by the renowned graphic designer Cassandre (Adolphe Jean-Marie Mouron).

Piet Mondrian
Designs for the library study of Ida Bienert, 1926
Published in Meubles, 1929
In 1929 Chareau published his portfolio Mobliers (furniture) in the lavish series L’Art International d’Aujourd’hui, authored by the most distinguished designers and artists of the day. In addition to Chareau’s furniture and this print by Mondrian, it features a cover with the Art Deco typeface Bifur, created by the renowned graphic designer Cassandre (Adolphe Jean-Marie Mouron).
Design for a studio, published 1929
Pochoir print
Private collection.
Chareau presented many of his designs for interiors as color drawings and gouaches. These were then converted into pochoir prints and published in portfolios. This studio shows Chareau’s successful attempt to integrate art and architecture in a perfectly calibrated interior, where shapes, colors, and textures respond to one another. The avant-garde works of art on the wall are hung on metal sliding tracks with attached lighting that are echoed by the wrought-iron plant stand.

Pierre Chareau, 1925 Photographed by Laure Albin Guillot Fresson print mounted on cardboard Centre Pompadeau Chareau's business card Centre Pompadeau Paris Office and library for a proposed ambassador's residence, 1925 Watercolor and black pencil on cardboard Musee des arts Pierre Chareau rose to prominence with his entry in the privotal 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes, which popularized Art Deco. For this space, he designed an unusual mobile ceiling amid walls that could open and shut like a fan, creating a room within a room that could enable the ambassador for added privacy.

Pierre Chareau, 1925
Photographed by Laure Albin Guillot
Fresson print mounted on cardboard
Centre Pompadeau
Chareau’s business card
Centre Pompadeau
Paris
Office and library for a proposed ambassador’s residence, 1925
Watercolor and black pencil on cardboard
Musee des arts
Pierre Chareau rose to prominence with his entry in the pivotal 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes, which popularized Art Deco. For this space, he designed an unusual mobile ceiling amid walls that could open and shut like a fan, creating a room within a room that could enable the ambassador for added privacy.

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Sconces, ca.1927 Alabaster and hammered wrought iron Private collection

Sconces, ca.1927
Alabaster and hammered wrought iron
Private collection

Sonces, ca.1924 Alabaster and black patinated metal Vallois, Paris

Sconces, ca.1924
Alabaster and black patinated metal
Vallois, Paris

Stool, ca.1923 Mahogany and mahogany-veneered wood Janet and Alan Ginsberg Bookcase with swiveling table, ca.1930 Walnut and black patinated iron Vallois, Paris Ceiling lamp, ca.1923 Patinated brass and alabaster Galerie Karsten Greve, Paris Telephone table, ca.1924 Walnut and patinated iron Private collection

Stool, ca.1923
Mahogany and mahogany-veneered wood
Janet and Alan Ginsberg
Bookcase with swiveling table, ca.1930
Walnut and black patinated iron
Vallois, Paris
Ceiling lamp, ca.1923
Patinated brass and alabaster
Galerie Karsten Greve, Paris

Stool, ca.1923 Mahogany and mahogany-veneered wood Janet and Alan Ginsberg Bookcase with swiveling table, ca.1930 Walnut and black patinated iron Vallois, Paris

Stool, ca.1923
Mahogany and mahogany-veneered wood
Janet and Alan Ginsberg
Bookcase with swiveling table, ca.1930
Walnut and black patinated iron
Vallois, Paris

Ceiling lamp, ca.1923 Patinated brass and alabaster Galerie Karsten Greve, Paris

Ceiling lamp, ca.1923
Patinated brass and alabaster
Galerie Karsten Greve, Paris

Coat and hat rack designed for the Maison de Verre, ca.1931 Duralumin and painted metal, with metalwork by Louis Dalbet Centre Pompidou, Musee National d'Art Moderne, Center de Creation Industrielle, Paris, donation, 2008

Coat and hat rack designed for the Maison de Verre, ca.1931
Duralumin and painted metal, with metalwork by Louis Dalbet
Centre Pompidou, Musee National d’Art Moderne,
Center de Creation Industrielle, Paris, donation, 2008

Telephone table, ca.1924 Walnut and patinated iron Private collection La Petite Religieuse (the little nun) table lamp, ca.1924 Walnut, alabaster, and patinated iron, metalwork by Louis Dalbet Private collection Sofa, 1923 Rosewood with fabric upholstery Galerie Karsten Greve, Paris Side table, ca.1928 Mahogany and iron Private collection Armchair, ca.1924 Sycamore with fabric upholstery Scott Mueller, Cleveland

Telephone table, ca.1924
Walnut and patinated iron
Private collection
La Petite Religieuse (the little nun) table lamp, ca.1924
Walnut, alabaster, and patinated iron, metalwork by Louis Dalbet
Private collection
Sofa, 1923
Rosewood with fabric upholstery
Galerie Karsten Greve, Paris
Side table, ca.1928
Mahogany and iron
Private collection
Armchair, ca.1924
Sycamore with fabric upholstery
Scott Mueller, Cleveland

Side table, ca.1928 Mahogany and iron Private collection Armchair, ca.1924 Sycamore with fabric upholstery Scott Mueller, Cleveland

Side table, ca.1928
Mahogany and iron
Private collection
Armchair, ca.1924
Sycamore with fabric upholstery
Scott Mueller, Cleveland

Telephone table, ca.1924 Walnut and patinated iron Private collection La Petite Religieuse (the little nun) table lamp, ca.1924 Walnut, alabaster, and patinated iron, metalwork by Louis Dalbet Private collection

Telephone table, ca.1924
Walnut and patinated iron
Private collection
La Petite Religieuse (the little nun) table lamp, ca.1924
Walnut, alabaster, and patinated iron, metalwork by Louis Dalbet
Private collection

Drawing for Furniture The furniture drawings produced by Chareau's office range from quick sketches to detailed plans and elevations to beautifully executed perspectives. Many are in Chareau's own hand, but labor-intensive color versions were sometimes passed on to skilled draftsmen. Several of these drawings can be compared to finished furniture on display in this gallery. Perspective for a suspension bed, ca.1925 Blue ink on tracing paper Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Drawing for Furniture
The furniture drawings produced by Chareau’s office range from quick sketches to detailed plans and elevations to beautifully executed perspectives. Many are in Chareau’s own hand, but labor-intensive color versions were sometimes passed on to skilled draftsmen. Several of these drawings can be compared to finished furniture on display in this gallery.
Perspective for a suspension bed, ca.1925
Blue ink on tracing paper
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan, elevation, and axonometric drawing for a linen chest, 1927 Pencil on tracing paper Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan, elevation, and axonometric drawing for a linen chest, 1927
Pencil on tracing paper
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Table, undated Black chalk and pencil on paper Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Table, undated Black chalk and pencil on paper Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan and elevation for an armchair and a sofa, ca.1924 Pencil on tracing paper Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan and elevation for an armchair and a sofa, ca.1924
Pencil on tracing paper
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan, elevation, and axonometric drawing for a fan table, 1923 Black chalk on tracing paper Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan, elevation, and axonometric drawing for a fan table, 1923
Black chalk on tracing paper
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan and elevation for the Wood-Metal desk, 1927 Pencil and color pencil on onionskin paper Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

Plan and elevation for the Wood-Metal desk, 1927
Pencil and color pencil on onionskin paper
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of the Louis Moret Foundation, 1997

projections in the exhibtion

projections in the exhibition

projections in the exhibtion

projections in the exhibtion

projections in the exhibtion

projections in the exhibition

Tulip daybed, 1923 Rosewood, with fabric upholstery designed by Helene Henry Galerie Anne-Sophie Duval, Paris Tulip side table with shelves, ca.1923 Walnut Vallois, Paris

Vase, ca.1923
Alabaster
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of Aline and Pierre Vellay, 2006; Tulip daybed, 1923
Rosewood, with fabric upholstery designed by Helene Henry
Galerie Anne-Sophie Duval, Paris
Tulip side table with shelves, ca.1923
Walnut
Vallois, Paris

 

Tulip side table with shelves, ca.1923 Walnut Vallois, Paris

Tulip side table with shelves, ca.1923
Walnut
Vallois, Paris

Armchair, ca.1924 Wood with fabric upholstery Barbara and Richard S. Lane

Armchair, ca.1924
Wood with fabric upholstery
Barbara and Richard S. Lane

Dressing table and stool designed for Georges Ullmann, 1925-27 Mahogany and sycamore with mirror; satin upholstery Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Bequest of Mrs. Julia Ullman, 1998 Smoking table, designed for the clubhouse of the Golf Hotel de Beauvallon, 1929 Patinated wrought iron Private collection Chauffeuse (fireside chair), ca.1926 Wood and velours, with tapestry upholstery designed by Jean Lurcat Private collection, courtesy of Galerie Anne-Sophie Duval, Paris La Religieuse (the nun) floor lamp, designed 1923, executed ca.1927 Alabaster, hammered and folded wrought iron, and hammered brass, with metalwork by Louis Dalbet Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase funded in part by the Scaler Foundation, 1995

Dressing table and stool designed for Georges Ullmann, 1925-27
Mahogany and sycamore with mirror; satin upholstery
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Bequest of Mrs. Julia Ullman, 1998
Smoking table, designed for the clubhouse of the Golf Hotel de Beauvallon, 1929
Patinated wrought iron
Private collection
Chauffeuse (fireside chair), ca.1926
Wood and velours, with tapestry upholstery designed by Jean Lurcat
Private collection, courtesy of Galerie Anne-Sophie Duval, Paris
La Religieuse (the nun) floor lamp, designed 1923, executed ca.1927
Alabaster, hammered and folded wrought iron, and hammered brass, with metalwork by Louis Dalbet
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Purchase funded in part by the Scaler Foundation, 1995

Dressing table and stool designed for Georges Ullmann, 1925-27 Mahogany and sycamore with mirror; satin upholstery Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Bequest of Mrs. Julia Ullman, 1998 Smoking table, designed for the clubhouse of the Golf Hotel de Beauvallon, 1929 Patinated wrought iron Private collection

Dressing table and stool designed for Georges Ullmann, 1925-27
Mahogany and sycamore with mirror; satin upholstery
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Bequest of Mrs. Julia Ullman, 1998
Smoking table, designed for the clubhouse of the Golf Hotel de Beauvallon, 1929
Patinated wrought iron
Private collection

La Religieuse (the nun) floor lamp, designed 1923, executed ca.1927 Alabaster, hammered and folded wrought iron, and hammered brass, with metalwork by Louis Dalbet Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase funded in part by the Scaler Foundation, 1995

La Religieuse (the nun) floor lamp, designed 1923, executed ca.1927
Alabaster, hammered and folded wrought iron, and hammered brass, with metalwork by Louis Dalbet
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Purchase funded in part by the Scaler Foundation, 1995

Dressing table and stool designed for Georges Ullmann, 1925-27 Mahogany and sycamore with mirror; satin upholstery Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Bequest of Mrs. Julia Ullman, 1998

Dressing table and stool designed for Georges Ullmann, 1925-27
Mahogany and sycamore with mirror; satin upholstery
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Bequest of Mrs. Julia Ullman, 1998

Chauffeuse (fireside chair), ca.1926 Wood and velours, with tapestry upholstery designed by Jean Lurcat Private collection, courtesy of Galerie Anne-Sophie Duval, Paris

Chauffeuse (fireside chair), ca.1926
Wood and velours, with tapestry upholstery designed by Jean Lurcat
Private collection, courtesy of Galerie Anne-Sophie Duval, Paris

Bicolor table designed for Georges Ullmann, ca.1927 Knotty walnut and lacquer Paolo and Maddalena Kind, London Bicolor credenza designed for Georges Ullmann, ca.1927 Lacquered wood Miguel Saco

Bicolor table designed for Georges Ullmann, ca.1927
Knotty walnut and lacquer
Paolo and Maddalena Kind, London
Bicolor credenza designed for Georges Ullmann, ca.1927
Lacquered wood
Miguel Saco

Bicolor table designed for Georges Ullmann, ca.1927 Knotty walnut and lacquer Paolo and Maddalena Kind, London Bicolor credenza designed for Georges Ullmann, ca.1927 Lacquered wood Miguel Saco

Bicolor table designed for Georges Ullmann, ca.1927
Knotty walnut and lacquer
Paolo and Maddalena Kind, London
Bicolor credenza designed for Georges Ullmann, ca.1927
Lacquered wood
Miguel Saco

La Religieuse (the nun) floor lamp, ca.1923 Mahogany and alabaster, with metalwork by Louis Dalbet Robert and Cheska Vallois, Paris Wall cabinet, ca.1928 Walnut and black patinated iron, with interior in sycamore Vallois, America, New York

La Religieuse (the nun) floor lamp, ca.1923
Mahogany and alabaster, with metalwork by Louis Dalbet
Robert and Cheska Vallois, Paris
Wall cabinet, ca.1928
Walnut and black patinated iron, with interior in sycamore
Vallois, America, New York

Wall cabinet, ca.1928 Walnut and black patinated iron, with interior in sycamore Vallois, America, New York

Wall cabinet, ca.1928
Walnut and black patinated iron, with interior in sycamore
Vallois, America, New York

Pierre Chareau: Modern Architecture and Design - Virtual Tour

 

Part of the Chereau art collection

Part of the Chareau art collection

Part of the Chereau art collection

Part of the Chareau art collection

The Chareau art collection

The Chareau art collection

The Chareau art collection

The Chareau art collection

The Chareau art collection

The Chareau art collection

Bust of Pierre Chareau

Bust of Pierre Chareau

The Chareau art collection

The Chareau art collection

The Chareau art collection

The Chareau art collection

Bust of Dollie Chareau

Bust of Dollie Chareau

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Part of the Chareau art collection

Part of the Chareau art collection

Part of the Chareau art collection

Part of the Chareau art collection

Part of the Chareau art collection

Part of the Chareau art collection

Part of the Chareau art collection

 

Part of the Chareau art collection

Part of the Chareau art collection

Part of the Chareau art collection

Part of the Chareau art collection

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Part of the Chareau art collection

Part of the Chareau art collection

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

Pochoir Prints The pochoir print, based on the use of stencils, was a favored medium of French interior designers of the 1920s and 1930s. Painstaking craftsmanship, vivid colors, and stylized design transformed these works into a form of art which, executed by specialists and published in luxurious portfolios, became collector's items. Chareau produced over two dozen such prints. Bathroom shown at the Salon d'Automne, Paris, 1920 Pochoir print, published 1925 Private collection

Pochoir Prints
The pochoir print, based on the use of stencils, was a favored medium of French interior designers of the 1920s and 1930s. Painstaking craftsmanship, vivid colors, and stylized design transformed these works into a form of art which, executed by specialists and published in luxurious portfolios, became collector’s items. Chareau produced over two dozen such prints.
Bathroom shown at the Salon d’Automne, Paris, 1920
Pochoir print, published 1925
Private collection

Vestibule Pochoir print, published 1924 Private collection

Vestibule
Pochoir print, published 1924
Private collection

Entrance hall of the Dalsace apartment on Boulevard Saint-Germain, Paris Pochoir print, published 1925 Private collection

Entrance hall of the Dalsace apartment on Boulevard Saint-Germain, Paris
Pochoir print, published 1925
Private collection

Master bedroom Pochoir print, published 1925 Private collection

Master bedroom
Pochoir print, published 1925
Private collection

Living room Pochoir print, published 1925 Private collection

Living room
Pochoir print, published 1925
Private collection

Bedroom of Madame de M., Geneva Pochoir print, published ca.1930 Private collection

Bedroom of Madame de M., Geneva
Pochoir print, published ca.1930
Private collection

Study Pochoir print, published 1924 Private collection

Study
Pochoir print, published 1924
Private collection

Interior Design in Archival Photographs Chareau was famous for his elegant interiors in which design, architecture, and works of art merged into a seamless whole. Today these interiors survive only in photographs, often by renowned photographers such as Andre Kertesz, Germaine Krull, and Therese Bonney. While these beautiful black-and-white images do not do justice to Chareau's sense of color and texture, they show how carefully he calibrated his ensembles so that the whole was more than the individual parts. The office of La Semaine a Paris, 1930 Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

Interior Design in Archival Photographs
Chareau was famous for his elegant interiors in which design, architecture, and works of art merged into a seamless whole. Today these interiors survive only in photographs, often by renowned photographers such as Andre Kertesz, Germaine Krull, and Therese Bonney. While these beautiful black-and-white images do not do justice to Chareau’s sense of color and texture, they show how carefully he calibrated his ensembles so that the whole was more than the individual parts.
The office of La Semaine a Paris, 1930
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

The living room in the apartment of Helene Bernheim, Paris, 1923 Exhibition print

The living room in the apartment of Helene Bernheim, Paris, 1923
Exhibition print

A dayroom for a proposed ambassador's residence, with textiles by Helene Henry, shown at the Exposition Internationale des Arts Decoratifs et Industriels Modernes, Paris, 1925 Photograph by Therese Bonney Smithsonian Libraries, Cooper Hewitt, Smithsonian Design Museum, New York

A dayroom for a proposed ambassador’s residence, with textiles by Helene Henry, shown at the Exposition Internationale des Arts Decoratifs et Industriels Modernes, Paris, 1925
Photograph by Therese Bonney
Smithsonian Libraries, Cooper Hewitt, Smithsonian Design Museum, New York

A dayroom for a proposed ambassador's residence, with textiles by Helene Henry, shown at the Exposition Internationale des Arts Decoratifs et Industriels Modernes, Paris, 1925 Photograph by Therese Bonney Smithsonian Libraries, Cooper Hewitt, Smithsonian Design Museum, New York

A dayroom for a proposed ambassador’s residence, with textiles by Helene Henry, shown at the Exposition Internationale des Arts Decoratifs et Industriels Modernes, Paris, 1925
Photograph by Therese Bonney
Smithsonian Libraries, Cooper Hewitt, Smithsonian Design Museum, New York

Interior Design in Archival Photographs Chareau was famous for his elegant interiors in which design, architecture, and works of art merged into a seamless whole. Today these interiors survive only in photographs, often by renowned photographers such as Andre Kertesz, Germaine Krull, and Therese Bonney. While these beautiful black-and-white images do not do justice to Chareau's sense of color and texture, they show how carefully he calibrated his ensembles so that the whole was more than the individual parts. A room in the apartment of Maurice and Helene Maus-Bloch Farhi, Paris, 1930-31 Exhibition print This room is evoked in the virtual-reality display in this gallery.

Interior Design in Archival Photographs
Chareau was famous for his elegant interiors in which design, architecture, and works of art merged into a seamless whole. Today these interiors survive only in photographs, often by renowned photographers such as Andre Kertesz, Germaine Krull, and Therese Bonney. While these beautiful black-and-white images do not do justice to Chareau’s sense of color and texture, they show how carefully he calibrated his ensembles so that the whole was more than the individual parts.
A room in the apartment of Maurice and Helene Maus-Bloch Farhi, Paris, 1930-31
Exhibition print
This room is evoked in the virtual-reality display in this gallery.

The living room in the apartment of Madeleine and Edmond Fleg, Paris, ca.1920 Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

The living room in the apartment of Madeleine and Edmond Fleg, Paris, ca.1920
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

The office of Dr. Jean Dalsace, Paris 1919 Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

The office of Dr. Jean Dalsace, Paris 1919
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

A room with Juan Gris's Bowl of Fruit on a Striped Tablecloth, The Book, and Pen and Pipe hanging above the suspension bed Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

A room with Juan Gris’s Bowl of Fruit on a Striped Tablecloth, The Book, and Pen and Pipe hanging above the suspension bed
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

A custom-made wrought-iron frame for Marc Chagall's 1914 painting The Praying Jew, ca.1925 Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

A custom-made wrought-iron frame for Marc Chagall’s 1914 painting The Praying Jew, ca.1925
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

A dayroom for a proposed ambassador's residence, with textiles by Helene Henry, as shown at the Exposition Internationale des Arts Decoratifs et Inustriels Modernes, Paris, 1925 Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

A dayroom for a proposed ambassador’s residence, with textiles by Helene Henry, as shown at the Exposition Internationale des Arts Decoratifs et Inustriels Modernes, Paris, 1925
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

The apartment of Dr. Robert Dalsace, 1926 Museum of Modern Art Architecure and Design Study Center, New York

The apartment of Dr. Robert Dalsace, 1926
Museum of Modern Art Architecture and Design Study Center, New York

Armchairs and alabaster light fixtures with a firescreen executed by Louis Dalbet, Salon des Artistes Decorateurs, Paris, 1926 Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

Armchairs and alabaster light fixtures with a firescreen executed by Louis Dalbet, Salon des Artistes Decorateurs, Paris, 1926
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

Furniture in the exhibition Les Cinq held at the Galerie Barbazanges, Paris, 1926, with Giorgio De Chirico's Mystery and Melancholy of a Street Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

Furniture in the exhibition Les Cinq held at the Galerie Barbazanges, Paris, 1926, with Giorgio De Chirico’s Mystery and Melancholy of a Street
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

A room in the apartment of Helene de Mandrot, Paris, 1926 Photograph by Germaine Krull Museum of Modern Art Architecure and Design Study Center, New York

A room in the apartment of Helene de Mandrot, Paris, 1926
Photograph by Germaine Krull
Museum of Modern Art Architecture and Design Study Center, New York

A variation of the library for a proposed ambassador's residence, with movable fan-shaped ceiling, exhibited at the Pavillon de Marsan, Paris, 1927 Gelatin silver print Museum of Modern Art Architecure and Design Study Center, New York

A variation of the library for a proposed ambassador’s residence, with movable fan-shaped ceiling, exhibited at the Pavillon de Marsan, Paris, 1927
Gelatin silver print
Museum of Modern Art Architecture and Design Study Center, New York

A dining room with a row of alabaster lamps edging the ceiling, ca.1927 Photograph by Georges Thiriet Museum of Modern Art Architecure and Design Study Center, New York

A dining room with a row of alabaster lamps edging the ceiling, ca.1927
Photograph by Georges Thiriet
Museum of Modern Art Architecture and Design Study Center, New York

Architecture Although Chareau never studied architecture formally, he was a founding member of the influential International Congress of Modern Arhitecture (CIAM), and served on the editorial board of France's most prestigious architectural journal, L'Architecture d'Aujourd'hui, Chareau left only a handful of buildings. In France, he designed three projects in collaboration with the Dutch architect Bernard Bijvoet: a clubhouse for the Golf Hotel de Beauvallon, the Villa Vent d'Aval, and the Maison de Verre. In 1937 he also designed (on his own) a little cottage for the dancer Djemil Anik. The auditorium of the Grand Hotel de Tours, 1932 Exhibition print

Architecture
Although Chareau never studied architecture formally, he was a founding member of the influential International Congress of Modern Arhitecture (CIAM), and served on the editorial board of France’s most prestigious architectural journal, L’Architecture d’Aujourd’hui, Chareau left only a handful of buildings. In France, he designed three projects in collaboration with the Dutch architect Bernard Bijvoet: a clubhouse for the Golf Hotel de Beauvallon, the Villa Vent d’Aval, and the Maison de Verre. In 1937 he also designed (on his own) a little cottage for the dancer Djemil Anik.
The auditorium of the Grand Hotel de Tours, 1932
Exhibition print

The dining room of the Grand Hotel de Tours, 1932 Photograph by Therese Bonney Smithsonian Libraries, Cooper Hewitt, Smithsonian Design Museum, New York

The dining room of the Grand Hotel de Tours, 1932
Photograph by Therese Bonney
Smithsonian Libraries, Cooper Hewitt, Smithsonian Design Museum, New York

Pierre Chareau and Bernard Bijvoet Clubhouse of the Golf Hotel de Beauvallon, commissioned by Emile Bernheim, 1926-27 Exhibition print

Pierre Chareau and Bernard Bijvoet Clubhouse of the Golf Hotel de Beauvallon, commissioned by Emile Bernheim, 1926-27
Exhibition print

Pierre Chareau and Bernard Bijvoet Villa Vent d'Aval, Saint-Tropez, commissioned by Edmond Bernheim, 1928 Exhibition print

Pierre Chareau and Bernard Bijvoet Villa Vent d’Aval, Saint-Tropez, commissioned by Edmond Bernheim, 1928
Exhibition print

Pierre Chareau Weekend house, Bazainville, near Paris, designed for the dancer Djemil Anik, 1937 Exhibition print

Pierre Chareau
Weekend house, Bazainville, near Paris, designed for the dancer Djemil Anik, 1937
Exhibition print

 

Pierre Chareau: Modern Architecture and Design - Virtual Tour

 

Photographs of the Maison de Verre, Paris, by Michael Carapetian Gelatin silver prints, 1966 Private collection The Maison de Verre has always attracted photographers, all of whom emphasize different qualities of the house. The architect Michael Carapetian (born 1938), who photographed the Maison de Verre in 1966, sought the familiar within the unfamiliar, stressing the house's stubborn domesticity and livability within an atypical setting. The medical receptionist's office on the first floor, 1966 Gelatin silver print Private collection The main staircase to the second floor is visible in the background.

Photographs of the Maison de Verre, Paris, by Michael Carapetian
Gelatin silver prints, 1966
Private collection
The Maison de Verre has always attracted photographers, all of whom emphasize different qualities of the house. The architect Michael Carapetian (born 1938), who photographed the Maison de Verre in 1966, sought the familiar within the unfamiliar, stressing the house’s stubborn domesticity and livability within an atypical setting.
The medical receptionist’s office on the first floor, 1966
Gelatin silver print
Private collection
The main staircase to the second floor is visible in the background.

View from the Grand Salon up to the third-floor balcony, 1966 Gelatin silver print Private collection The dining room is at left; Dr. Dalsace's private study is at right.

View from the Grand Salon up to the third-floor balcony, 1966
Gelatin silver print
Private collection
The dining room is at left; Dr. Dalsace’s private study is at right.

The waiting area of Dr. Dalsace's office, 1966 Gelatin silver print Private collection At right is a telephone stand; a portion of the hanging ironwork staircase leading up to the doctor's private study on the second floor is visible.

The waiting area of Dr. Dalsace’s office, 1966
Gelatin silver print
Private collection
At right is a telephone stand; a portion of the hanging ironwork staircase leading up to the doctor’s private study on the second floor is visible.

View from the first floor up to the passageway between the dining room and a dayroom, 1966 Gelatin silver print Private collection At right is one of the mechanisms for opening the windows.

View from the first floor up to the passageway between the dining room and a dayroom, 1966
Gelatin silver print
Private collection
At right is one of the mechanisms for opening the windows.

The main staircase, 1966 Gelatin silver print Private collection At center is the perforated-metal sliding screen door that encases the staircase.

The main staircase, 1966
Gelatin silver print
Private collection
At center is the perforated-metal sliding screen door that encases the staircase.

A corner of the kitchen, 1966 Gelatin silver print Private collection

A corner of the kitchen, 1966
Gelatin silver print
Private collection

Photographs of the Maison de Verre, Paris, by Michael Carapetian Gelatin silver prints, 1966 Private collection The Maison de Verre has always attracted photographers, all of whom emphasize different qualities of the house. The architect Michael Carapetian (born 1938), who photographed the Maison de Verre in 1966, sought the familiar within the unfamiliar, stressing the house's stubborn domesticity and livability within an atypical setting. Glass panels reinforced with chicken wire, 1966 Gelatin silver print Private collection These panels separate the passageway to the doctor's office suite from the main staircase.

Photographs of the Maison de Verre, Paris, by Michael Carapetian
Gelatin silver prints, 1966
Private collection
The Maison de Verre has always attracted photographers, all of whom emphasize different qualities of the house. The architect Michael Carapetian (born 1938), who photographed the Maison de Verre in 1966, sought the familiar within the unfamiliar, stressing the house’s stubborn domesticity and livability within an atypical setting.
Glass panels reinforced with chicken wire, 1966
Gelatin silver print
Private collection
These panels separate the passageway to the doctor’s office suite from the main staircase.

The doctor's laboratory, 1966 Exhibition print

The doctor’s laboratory, 1966
Exhibition print

The doorbell outside the main entrance to the house, 1966 Exhibition print

The doorbell outside the main entrance to the house, 1966
Exhibition print

The area outside the doctor's office and examining room on the first floor, with a desk by Chareau, 1966 Exhibition print

The area outside the doctor’s office and examining room on the first floor, with a desk by Chareau, 1966
Exhibition print

Glass-Plate Negatives of the Maison de Verre, Paris, ca.1932 Private collection Photographers of the Maison de Verre have often tried to capture the house's unusual qualities with startling light effects or plunging angles. Georges Thiriet, who photographed the house during the construction and soon after it was completed in 1932, wanted to showthe extraordinary fluidity of the interior and the way sliding partitions and perforated screens slice through the rooms without arresting the flow of space. View of the second-floor Grand Salon from the third floor

Glass-Plate Negatives of the Maison de Verre, Paris, ca.1932
Private collection
Photographers of the Maison de Verre have often tried to capture the house’s unusual qualities with startling light effects or plunging angles. Georges Thiriet, who photographed the house during the construction and soon after it was completed in 1932, wanted to showthe extraordinary fluidity of the interior and the way sliding partitions and perforated screens slice through the rooms without arresting the flow of space.
View of the second-floor Grand Salon from the third floor

The second-floor bathroom

The second-floor bathroom

Two views of the built-in china and silver cabinet near the dining room

Two views of the built-in china and silver cabinet near the dining room

Two views of the built-in china and silver cabinet near the dining room

Two views of the built-in china and silver cabinet near the dining room

Two views of the kitchen

Two views of the kitchen

Two views of the kitchen

Two views of the kitchen

View from the second-floor Grand Salon toward the doctor's private study above; the third floor is lined with cabinets and bookcases

View from the second-floor Grand Salon toward the doctor’s private study above; the third floor is lined with cabinets and bookcases

View of the second-floor Grand Salon and above it the third floor, with cabinet and bookcases

View of the second-floor Grand Salon and above it the third floor, with cabinet and bookcases

The stairway to the second floor

The stairway to the second floor

Design of the exhibition

Design of the exhibition

Design of the exhibition

Design of the exhibition

Bernard Bijvoet, ca.1928 Andriessen Family Archive Exhibition print The Dutch architect Bernard Bijvoet (1889-1979) played a major role in Chareau's main architectural projects: the Golf Hotel de Beauvallon, the Villa Vent d'Aval, and the Maison de Verre. Bijvoet, also helped design furniture and worked on several interiors, especially for the Grand Hotel de Tours, Chareau's largest interior-design commission.

Bernard Bijvoet, ca.1928
Andriessen Family Archive
Exhibition print
The Dutch architect Bernard Bijvoet (1889-1979) played a major role in Chareau’s main architectural projects: the Golf Hotel de Beauvallon, the Villa Vent d’Aval, and the Maison de Verre. Bijvoet, also helped design furniture and worked on several interiors, especially for the Grand Hotel de Tours, Chareau’s largest interior-design commission.

Kenneth Frampton, survey and measured drawings in association with Michael Curtis, Harrison Fraker, John Harrell, William Johnson, Peter Mayer, Thomas Pritchard, Salvatore Vasi, Augusto Villalon, Jeremy Wood, and Peter Papademtriou Floor plans of the Maison de Verre, Paris, ca. 1965 Ink, pencil, and dry-transfer lettering on drafting film These drawings of the Maison de Verre reveal the house's unique spatial qualities and sophisticated detailing. The gridlike free plan allows the eye to travel in space, interrupted only by the minimal obstacles of the load-bearing skeleton and movable partitions, while the axonometric drawings show the intricate detailing involved in the concatenation of parts and volumes. Plan of the first floor of the Maison de Verre, Paris, ca.1965 Ink, pencil, and dry-transfer lettering on drafting film Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d'Architecture, Montreal

Kenneth Frampton, survey and measured drawings in association with Michael Curtis, Harrison Fraker, John Harrell, William Johnson, Peter Mayer, Thomas Pritchard, Salvatore Vasi, Augusto Villalon, Jeremy Wood, and Peter Papademtriou
Floor plans of the Maison de Verre, Paris, ca. 1965
Ink, pencil, and dry-transfer lettering on drafting film
These drawings of the Maison de Verre reveal the house’s unique spatial qualities and sophisticated detailing. The gridlike free plan allows the eye to travel in space, interrupted only by the minimal obstacles of the load-bearing skeleton and movable partitions, while the axonometric drawings show the intricate detailing involved in the concatenation of parts and volumes.
Plan of the first floor of the Maison de Verre, Paris, ca.1965
Ink, pencil, and dry-transfer lettering on drafting film
Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d’Architecture, Montreal

Plan of the second floor of the Maison de Verre, Paris, ca.1965 Ink, pencil, and dry-transfer lettering on drafting film Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d'Architecture, Montreal

Plan of the second floor of the Maison de Verre, Paris, ca.1965
Ink, pencil, and dry-transfer lettering on drafting film
Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d’Architecture, Montreal

Plan of the third floor of the Maison de Verre, Paris, ca.1965 Ink, pencil, and dry-transfer lettering on drafting film Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d'Architecture, Montreal

Plan of the third floor of the Maison de Verre, Paris, ca.1965
Ink, pencil, and dry-transfer lettering on drafting film
Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d’Architecture, Montreal

Kenneth Frampton Architectural Drawings of the Maison de Verre, Paris, ca.1965 Ink, pencil, and dry-transfer lettering on drafting film These drawings of the Maison de Verre reveal the house's unique spatial qualities and sophisticated detailing. The gridlike free plan allows the eye to travel in space, interrupted only by the minimal obstacles of the load-bearing skeleton and movable partitions, while the axonometric drawings show the intricate detailing involved in the concatenation of parts and volumes. Site plan of the ground floor of the Maison de Verre, Paris, with garden and forecourt Exhibition print

Kenneth Frampton
Architectural Drawings of the Maison de Verre, Paris, ca.1965
Ink, pencil, and dry-transfer lettering on drafting film
These drawings of the Maison de Verre reveal the house’s unique spatial qualities and sophisticated detailing. The gridlike free plan allows the eye to travel in space, interrupted only by the minimal obstacles of the load-bearing skeleton and movable partitions, while the axonometric drawings show the intricate detailing involved in the concatenation of parts and volumes.
Site plan of the ground floor of the Maison de Verre, Paris, with garden and forecourt
Exhibition print

Section through the three floors of the Maison de Verre, Paris Exhibition print

Section through the three floors of the Maison de Verre, Paris
Exhibition print

Axonometric drawing of the main staircase to the Grand Salon in the Maison de Verre, Paris Exhibition print

Axonometric drawing of the main staircase to the Grand Salon in the Maison de Verre, Paris
Exhibition print

Axonometric drawing of a movable library stepladder and bookcase for the Grand Salon of the Maison de Verre, Paris Exhibition print The ladder and bookcase are evoked in the virtual-reality display in this gallery.

Axonometric drawing of a movable library stepladder and bookcase for the Grand Salon of the Maison de Verre, Paris
Exhibition print
The ladder and bookcase are evoked in the virtual-reality display in this gallery.

Axonometric drawing of the master bathroom in the Maison de Verre, Paris Exhibition print

Axonometric drawing of the master bathroom in the Maison de Verre, Paris
Exhibition print

Kenneth Frampton, survey and measured drawings in association with Michael Curtis, Harrison Fraker, John Harrell, William Johnson, Peter Mayer, Thomas Pritchard, Salvatore Vasi, Augusto Villalon, Jeremy Wood, and Peter Papademtriou Axonometric drawing of the Maison de Verre, Paris, showing the interior from the front courtyard, ca. 1965 Ink and pencil on translucent paper Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d'Architecture, Montreal

Kenneth Frampton, survey and measured drawings in association with Michael Curtis, Harrison Fraker, John Harrell, William Johnson, Peter Mayer, Thomas Pritchard, Salvatore Vasi, Augusto Villalon, Jeremy Wood, and Peter Papademtriou
Axonometric drawing of the Maison de Verre, Paris, showing the interior from the front courtyard, ca. 1965
Ink and pencil on translucent paper
Kenneth Frampton Fonds, Canadian Centre for Architecture / Centre Canadien d’Architecture, Montreal

The Study in the Chareau Residence 54 Rue Nollet, Paris, ca.1927 Desk and stool designed for Robert Mallet-Stevens, 1927 Lacquered wood and nickeled metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004 Armchair, 1925 Bleached mahogany and suede Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis Stool, ca.1926 Sycamore Vallois, Paris Nesting side tables, ca.1924 Wood Private collection Jacques Lipchitz Musical Instraments (Hexagonal Sjape) II, 1923 Bronze Carolyn and Preston Butcher Georges Braque Homage to J. S. Bach, 1911-12 Oil on canvas Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008 Jacques Lipchitz Woman Reading I, 1919 Bronze with golden brown patina The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence
54 Rue Nollet, Paris, ca.1927
Jacques Lipchitz
Musical Instraments (Hexagonal Sjape) II, 1923
Bronze
Carolyn and Preston Butcher

The Study in the Chareau Residence 54 Rue Nollet, Paris, ca.1927 Desk and stool designed for Robert Mallet-Stevens, 1927 Lacquered wood and nickeled metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004 Armchair, 1925 Bleached mahogany and suede Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis Stool, ca.1926 Sycamore Vallois, Paris Nesting side tables, ca.1924 Wood Private collection Jacques Lipchitz Musical Instraments (Hexagonal Sjape) II, 1923 Bronze Carolyn and Preston Butcher Georges Braque Homage to J. S. Bach, 1911-12 Oil on canvas Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008 Jacques Lipchitz Woman Reading I, 1919 Bronze with golden brown patina The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence
54 Rue Nollet, Paris, ca.1927
Georges Braque
Homage to J. S. Bach, 1911-12
Oil on canvas
Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008
Jacques Lipchitz
Woman Reading I, 1919
Bronze with golden brown patina
The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence 54 Rue Nollet, Paris, ca.1927 Desk and stool designed for Robert Mallet-Stevens, 1927 Lacquered wood and nickeled metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004 Armchair, 1925 Bleached mahogany and suede Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis Stool, ca.1926 Sycamore Vallois, Paris Nesting side tables, ca.1924 Wood Private collection Jacques Lipchitz Musical Instraments (Hexagonal Sjape) II, 1923 Bronze Carolyn and Preston Butcher Georges Braque Homage to J. S. Bach, 1911-12 Oil on canvas Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008 Jacques Lipchitz Woman Reading I, 1919 Bronze with golden brown patina The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence
54 Rue Nollet, Paris, ca.1927
Desk and stool designed for Robert Mallet-Stevens, 1927
Lacquered wood and nickeled metal
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004
Armchair, 1925
Bleached mahogany and suede
Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis
Stool, ca.1926
Sycamore
Vallois, Paris
Nesting side tables, ca.1924
Wood
Private collection
Jacques Lipchitz
Musical Instraments (Hexagonal Sjape) II, 1923
Bronze
Carolyn and Preston Butcher
Georges Braque
Homage to J. S. Bach, 1911-12
Oil on canvas
Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008
Jacques Lipchitz
Woman Reading I, 1919
Bronze with golden brown patina
The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence 54 Rue Nollet, Paris, ca.1927 Desk and stool designed for Robert Mallet-Stevens, 1927 Lacquered wood and nickeled metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004 Armchair, 1925 Bleached mahogany and suede Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis Stool, ca.1926 Sycamore Vallois, Paris Nesting side tables, ca.1924 Wood Private collection Jacques Lipchitz Musical Instraments (Hexagonal Sjape) II, 1923 Bronze Carolyn and Preston Butcher Georges Braque Homage to J. S. Bach, 1911-12 Oil on canvas Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008 Jacques Lipchitz Woman Reading I, 1919 Bronze with golden brown patina The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence
54 Rue Nollet, Paris, ca.1927
Desk and stool designed for Robert Mallet-Stevens, 1927
Lacquered wood and nickeled metal
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004
Stool, ca.1926
Sycamore
Vallois, Paris

The Study in the Chareau Residence 54 Rue Nollet, Paris, ca.1927 Desk and stool designed for Robert Mallet-Stevens, 1927 Lacquered wood and nickeled metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004 Armchair, 1925 Bleached mahogany and suede Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis Stool, ca.1926 Sycamore Vallois, Paris Nesting side tables, ca.1924 Wood Private collection Jacques Lipchitz Musical Instraments (Hexagonal Sjape) II, 1923 Bronze Carolyn and Preston Butcher Georges Braque Homage to J. S. Bach, 1911-12 Oil on canvas Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008 Jacques Lipchitz Woman Reading I, 1919 Bronze with golden brown patina The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence
54 Rue Nollet, Paris, ca.1927
Desk and stool designed for Robert Mallet-Stevens, 1927
Lacquered wood and nickeled metal
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004

The Study in the Chareau Residence 54 Rue Nollet, Paris, ca.1927 Desk and stool designed for Robert Mallet-Stevens, 1927 Lacquered wood and nickeled metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004 Armchair, 1925 Bleached mahogany and suede Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis Stool, ca.1926 Sycamore Vallois, Paris Nesting side tables, ca.1924 Wood Private collection Jacques Lipchitz Musical Instraments (Hexagonal Sjape) II, 1923 Bronze Carolyn and Preston Butcher Georges Braque Homage to J. S. Bach, 1911-12 Oil on canvas Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008 Jacques Lipchitz Woman Reading I, 1919 Bronze with golden brown patina The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Study in the Chareau Residence
54 Rue Nollet, Paris, ca.1927
Desk and stool designed for Robert Mallet-Stevens, 1927
Lacquered wood and nickeled metal
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Purchase with Patrimony Fund support, 2004
Armchair, 1925
Bleached mahogany and suede
Virginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis
Stool, ca.1926
Sycamore
Vallois, Paris
Nesting side tables, ca.1924
Wood
Private collection
Jacques Lipchitz
Musical Instraments (Hexagonal Sjape) II, 1923
Bronze
Carolyn and Preston Butcher
Georges Braque
Homage to J. S. Bach, 1911-12
Oil on canvas
Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, acquired through the gift of Leon D. and Debra Black, the gift of William B. Jaffe and Evelyn A. J. Hall (by exchange), the Nelson A. Rockefeller Bequest Fund (by exchange), and the Richard S. Zeisler Bequest (by exchange), 2008
Jacques Lipchitz
Woman Reading I, 1919
Bronze with golden brown patina
The Jensam Foundation established by Dr. Herbert J. Kayden and Dr. Gabrielle H. Reem, Washington, DC

The Garden of the Maison de Verre 31 Rue Stain-Guillaume, Paris Chair, 1927 Painted metal and rattan Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, donation 2008 Folding chair, 1927 Painted metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, donation 2008 Propeller table, 1929 Patinated wrought iron Miguel Saco Chair, 1927 Painted metal and rattan Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, donation 2008

The Garden of the Maison de Verre
31 Rue Stain-Guillaume, Paris
Chair, 1927
Painted metal and rattan
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, donation 2008
Folding chair, 1927
Painted metal
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, donation 2008
Propeller table, 1929
Patinated wrought iron
Miguel Saco
Chair, 1927
Painted metal and rattan
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, donation 2008

The Garden of the Maison de Verre 31 Rue Stain-Guillaume, Paris Chair, 1927 Painted metal and rattan Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, donation 2008 Folding chair, 1927 Painted metal Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, donation 2008 Propeller table, 1929 Patinated wrought iron Miguel Saco Chair, 1927 Painted metal and rattan Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, donation 2008

The Garden of the Maison de Verre
31 Rue Stain-Guillaume, Paris
Chair, 1927
Painted metal and rattan
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, donation 2008
Folding chair, 1927
Painted metal
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, donation 2008
Propeller table, 1929
Patinated wrought iron
Miguel Saco
Chair, 1927
Painted metal and rattan
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, donation 2008

A room in the Farhi Apartment 2 Bis Avenue Raphael, Paris Coiffeuse designed for the Farhi family, 1927 Walnut, amboyna, sycamore, and wrought iron with mirror Geoffrey Diner Gallery, Washington, DC Table lamp, 1923 Alabaster and patinated wrought iron, with metalwork by Louis Dalbet Centre Pompidou, Musee National d'Art Moderne, Centre de Creation Industrielle, Paris, Gift of Strafor, 1995 Desk, 1927 Blackened hoop iron and wood Vitra Design Museum, William Rhein, Germany Stool, ca.1923 Sycamore Vallois America, New York Wall-mounted shelf unit with fixed and pivoting shelves, ca.1930 Wrought iron with patinated nickel plate and walnut Vallois America, New York

A room in the Farhi Apartment
2 Bis Avenue Raphael, Paris
Coiffeuse designed for the Farhi family, 1927
Walnut, amboyna, sycamore, and wrought iron with mirror
Geoffrey Diner Gallery, Washington, DC
Table lamp, 1923
Alabaster and patinated wrought iron, with metalwork by Louis Dalbet
Centre Pompidou, Musee National d’Art Moderne, Centre de Creation Industrielle, Paris, Gift of Strafor, 1995
Desk, 1927
Blackened hoop iron and wood
Vitra Design Museum, William Rhein, Germany
Stool, ca.1923
Sycamore
Vallois America, New York
Wall-mounted shelf unit with fixed and pivoting shelves, ca.1930
Wrought iron with patinated nickel plate and walnut
Vallois America, New York

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour

CAD sync with floor plan and moving monitor track to show cross section of building dynamically

CAD sync with floor plan and moving monitor track to show cross section of building dynamically

CAD sync with floor plan and moving monitor track to show cross section of building dynamically

CAD sync with floor plan and moving monitor track to show cross section of building dynamically

Pierre Chareau: Modern Architecture and Design - Virtual Tour

Pierre Chareau: Modern Architecture and Design – Virtual Tour


About the author: Bill Indursky

Bill Indursky is an architect, trend expert, and digital entrepreneur. He is the former founder of V&M (Vintage & Modern (2006-2013)) and the current founder of Design Life Network (DLN). DLN is a MAGAZINE + DESIGN AGENCY + MARKETPLACE + TV CHANNEL promoting inspiring design of all eras online and on TV.


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