Founded in 1989, GALERIE PATRICK SEGUIN is located in Paris’s Bastille district in a 300 sqm (3200 sq ft) space, architectured by JEAN NOUVEL, a 2008 Prizker Prize winner. Since its opening, the gallery has brought the talents of French designers such as JEAN PROUVÉ, CHARLOTTE PERRIAND, PIERRE JEANNERET, LE CORBUSIER and JEAN ROYÈRE into the international spotlight.
With a particular specialization in the work of Jean Prouvé, Galerie Patrick Seguin works rigorously to promote both his furniture as well as his architecture (demountable houses). As of today, the gallery has assembled the most important collection of these demountable houses, which for the most part are either unique examples or were produced in very few numbers.
The quality of the works selected by Patrick Seguin combined with his meticulous and informative presentations has resulted in unique exhibitions at the Centre Georges Pompidou and the Musée des Arts Décoratifs in Paris, the Museum of Modern Art in New York, the Venice Biennale, and the Musée des Beaux Arts in Nancy, France. The gallery has also published a series of monographic books that accompany the exhibitions. In 2017 Patrick Seguin was named Chevalier de l’ordre des Arts et des Lettres by the Minister of Culture. The decoration was awarded to him by Mr. Jack Lang, former Minister of Culture.
In addition to featuring both Prouvé demountable houses and design exhibitions, the gallery invites an international contemporary art gallery to exhibit a “Carte Blanche” show in its Parisian space every year during the FIAC. Past exhibitions have included galleries Jablonka Galerie, Hauser & Wirth, Gagosian, Galerie Eva Presenhuber, Sadie Coles HQ, Galleria Massimo De Carlo, Paula Cooper Gallery, kurimanzutto, Luhring Augustine, Karma, Ivor Braka, Campoli Presti, David Kordansky Gallery and Gavin Brown’s entreprise.
This reading table designed by PIERRE JEANNERET was intended for the Legislative Assembly and the University of Punjab library in Chandigarh, India.
Commissionned by Nehru to construct the new capital of the Punjab region when India gained independence in 1947, LE CORBUSIER designed a project that would illustrate the country’s bright future. Pierre Jeanneret, Le Corbusier’s cousin and lifelong collaborator, was entrusted the designing of most of the furniture of the city.
Jeanneret opted for readily available materials, with an emphasis on the different local spieces of wood -here teak- rot-resistant and perfectly adapted to the vicissitude of the climate. The large table top rests on two solid ‘‘angle’’ typeside legs while the lightning is provided by two central reflectors in folded sheet metal, mounted on tubes of lacquered steel. A central slab in frosted glass separates both sides and provides more privacy to readers.
The table can with ease accomodate up to six seats. This elegant yet sturdy model is typical of Jeanneret’s style.
JEAN ROYÈRE approached his metier in spirit of unfettered freedom, his imagination, receptivity and curiosity enabling an all-embracing view of the creative context of his time. While he shared with the Union of Modern Artists’ emphasis on functionality above all, he also admired the craftsmanship that enabled ready adaptation of a piece to its intended setting. Responsive to simple forms and the principle of furnishings reduced to the strict minimum, he charted a course guided by unfailing attention to harmony.
His work compelled recognition with the undogmatic modernity of pieces designed for everyday living and its perfect balance between elegance and relaxation. His drawings and plans testify to his taste for the pare-down: once he had outlined the counters the embellishment is never overstated. On the contrary most often the decorative motif is an integral part of the piece.
The straw marquetry pieces reflect his approach: the sophisticated technique he uses drawn on eighteenth- century French cabinetmaking but simplifies the decorative motif by opting for dynamic zigzag lines. His relatively modest ornementation fulfills a specific function: it lets line express itself fully, never supplanting it and never intruding on the beauty of the design.
These sideboard and wardrobe were part of a large commission Royère carried out at the request of Mr. & Mrs. Goldenberg in the early 1950s and are in remarkable condition.
Although Royère particularly appreciated this material, he produced a very limited number of straw marquetry meubles d’appui of which these sideboard and wardrobe are prime examples.
Derived from the prewar prototype, a metal version of the dining table base was finalized in 1951. It originated from dining room furniture that were given the “Meubles de France” award in 1947.
The model was demountable and delivered in kit form with assembly instructions, as evidenced by the protrusion of the cap-ends where the crossmember frame meets the brace connecting the bent steel legs. The base was attached to the crosspieces of the upper frame with brackets and screws.
The piece gave rise to several variants such as the Tropique one that was designed for Air France Congo in Brazzaville (Africa).