Pierre Chareau, ‘Pair of tabourets, model no. MT 1015’, ca. 1923, Phillips
Pierre Chareau, ‘Pair of tabourets, model no. MT 1015’, ca. 1923, Phillips

Property from the Janet and Alan Ginsberg Collection

Each: 17 3/4 x 19 3/4 x 13 3/4 in. (45.1 x 50.2 x 34.9 cm)

Signature: Underside of one branded twice with designer's monogram PC.

Pierre Chareau: Modern Architecture and Design, The Jewish Museum, New York, November 4, 2016-March 26, 2017 (for the signed tabouret pictured on the right)

The present model tabouret was exhibited at the Musée des Arts Décoratifs, Paris, 1927.

Léon Deshairs, "Une étape vers les meubles métalliques?" Art et Décoration, January-June 1927, p. 110
G. Rémon, "Les créations de Pierre Chareau," Mobilier et Décoration, January 1927, pp. 101, 106
Gabriel Henriot, "Pierre Chareau," Mobilier et Décoration, December 1927, p. 226
Pierre Migennes, "Sur deux ensembles de P. Chareau," Art et Décoration, 1932, pp. 132, 135
Mark Vellay and Kenneth Frampton, Pierre Chareau: Architecte-Meublier 1883-1950, Paris, 1984, pp. 99, 185, 318
Brian Brice Taylor, Pierre Chareau: Designer and Architect, New York, 1998, pp. 68, 80
Esther da Costa Meyer, Pierre Chareau: Modern Architecture and Design, exh. cat., The Jewish Museum, New Haven, 2016, pp. 51, 69, 126

DeLorenzo Gallery, New York
Acquired from the above by the present owner, 1996

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