Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS
Charlotte Perriand, ‘Cansado Bench’, ca. 1958, DADA STUDIOS

Bench with side table and drawer.
From Cite Cansado, Mauritania.
Designed by Charlotte Perriand.

Oak-veneered wood, oak, plastic laminated covered wood, painted metal and fabric.

In good original condition, with minor wear consistent with age and use, preserving a beautiful patina.

The cushions has been produced now according to the original meassurements with high quality wool fabric.

Oak-veneered wood, oak, plastic laminated covered wood, painted metal and fabric.

In good original condition, with minor wear consistent with age and use, preserving a beautiful patina.

The cushions has been produced now according to the original meassurements with high quality wool fabric.

Cité Cansado, Mauritania | Private Collection, France.

About Charlotte Perriand

Charlotte Perriand was a rare female voice among the avant-garde designers whose designs shaped modern living in the early 20th century. As a student, she rejected the popular Beaux-Arts style and found inspiration instead in machine-age technology. She joined the studio of Le Corbusier at 24, where she experimented with steel, aluminum, and glass, developing a series of tubular steel chairs that remain a modern icon. In 1940, she traveled to Japan to advise the government on how to export products to the West, and spent WWII exiled in Vietnam, where she discovered local woodwork and weaving techniques and embraced natural materials. “The most important thing to realize is that what drives the modern movement is a spirit of enquiry; it’s a process of analysis and not a style,” she said near the end of her life. “We worked with ideals.”

French, 1903-1999, Paris, France