Pierre Chareau, ‘Armchair, model no. MF 1002’, 1924-1927, Phillips

The present model armchair was exhibited at Galerie Barbazanges, Paris, 1927.

Albert Morancé, ed., Encyclopédie des Métiers d'Art: Décoration Moderne, Tome II, Paris, pl. 76
"Chez un cinéaste," Art et Décoration, July 1927, pp. 43, 45
C. Geoffrey Holme and Shirley B. Wainwright, eds., Decorative Art, 1927, "The Studio" Year-Book, London, 1927, p. 117
Mark Vellay and Kenneth Frampton, Pierre Chareau: Architecte-Meublier 1883-1950, Paris, 1984, pp. 35, 134-35, 209
Olivier Cinqualbre, et. al., Pierre Chareau, Architecte, Un Art Intérieur, exh. cat., Centre Pompidou, 1993, pp. 39, 134 for drawings
Brian Brice Taylor, Pierre Chareau: Designer and Architect, New York, 1998, cover, pp. 10, 42, 64, 66-67, 122, 124, 127, 130, 132-33
Esther da Costa Meyer, Pierre Chareau: Modern Architecture and Design, exh. cat., The Jewish Museum, New Haven, 2016, pp. 24, 199

About Pierre Chareau

Pierre Chareau is often cited as one of France’s first truly modern architects. Educated at the École des Beaux Arts in Paris, Chareau was interested in Cubism and boldly experimented with materials like glass, steel, and light itself. He’s best remembered for his Maison de Verre (House of Glass), France’s first house made entirely of glass and steel. Built in 1932 as an office and home for Dr. Jean Dalsace, the building is notable for its juxtaposition of a transparent, seemingly weightless structure and custom mechanical innovations with traditional décor and furnishings. Chareau also made designs on a smaller scale, his furniture and lighting expressing the same fascination with technology, material, and complex forms.

French, 1883-1950