{"id":36593,"date":"2016-02-18T17:06:12","date_gmt":"2016-02-18T16:06:12","guid":{"rendered":"https:\/\/www.patrickseguin.com\/cv-jean-royere-2\/"},"modified":"2025-08-30T13:08:51","modified_gmt":"2025-08-30T12:08:51","slug":"cv-jean-royere","status":"publish","type":"page","link":"https:\/\/www.patrickseguin.com\/en\/cv-jean-royere\/","title":{"rendered":"cv-jean-royere"},"content":{"rendered":"

1902-1931
\n<\/strong>Jean Roy\u00e8re is born in Paris in 1902. Hisfather L\u00e9once Roy\u00e8re, of Breton extraction, is a high-ranking civil servant at the Paris Pr\u00e9fecture, and his mother, Marguerite Niers, was born in Vienna into a family from Lorraine that emigrated after the war of 1870. Jean\u2019s upbringing is strict and sheltered: after a classical education at the Condorcet, F\u00e9nelon and Sainte-Marie-de-Monceau secondary schools, he begins studying law; further studies at Cambridge are followed by a return to France for his military service in 1925.
\nFrom 1926 to 1931 he works for his uncle, Jacques Raverat, director of a successful import-export firm in Le Havre.<\/p>\n

1931
\n<\/strong> Encouraged by Louis Metman, chief curator at the Mus\u00e9e des Arts D\u00e9coratifs in Paris, and with help from Jacques Raverat, Roy\u00e8re decides to follow his true vocation as an interior designer. To learn his craft he takes a job in a furniture factory on Boulevard Diderot, where he works until 1933.
\nHis first customer is his uncle, for whom he designs a bedroom and boudoir ensemble in exotic woods\u2014there are references to Jacques-Emile Ruhlmann\u2014and slimline garden furniture. He also designs offices for the Le Havre Port Authority.<\/p>\n

1932<\/strong>
\nRoy\u00e8re\u2019s remarkable skills are in evidence from the outset, in his surgery and apartment for Dr Philippe Decourt. Stripped of all ornamentation, the furniture combining tubing and strips of chromed metal points up his interest in the modern movement, but with an already perceptible touch of personal tweaking. Some of these pieces will be adapted for mass production for the Aplemont workers\u2019 housing estate at Frileuse, near Le Havre.<\/p>\n

1933<\/strong>
\nRenovation of the Hotel Carlton\u2019s brasserie on the Champs Elys\u00e9es brings Roy\u00e8re into the spotlight. In charge of the terrace, the first-floor lounges and the basement, he comes up with a sober, pastel-toned decor and furnishings of metal tubing, Bakelite and rattan. Success is immediate and earns him an article in Art et Industrie magazine, directed by Waldemar George.<\/p>\n

1934<\/strong>
\nPierre Gouff\u00e9, a noted Faubourg Saint-Antoine furniture manufacturer specializing in period pieces, is sufficiently impressed by his work to put him in charge of his firm\u2019s contemporary section. With Gouff\u00e9\u2019s backing Roy\u00e8re makes his first appearance at the Salon d\u2019Automne, taking out a bronze medal for his chairs for Dr Decourt.
\nHe moves into an artist\u2019s studio on Rue de Passy in Paris, which he furnishes using tubing and metal strip creations. Faithful to the modernist principle, he incorporates a multifunction item of his own design. He brings the same approach to fitting out the Gautier apartment, dividing the living room in two with a set of low bookshelves.<\/p>\n

1935<\/strong>
\nAt the Salon d\u2019Automne he shows a combined living\/ dining room with waxed zebrano wainscoting, a sideboard, a brushed oak table with a white opaline top, and floral curtains that bring a touch of light into a brown-toned setting. This creation appears on the cover of the magazine Le D\u00e9cor d\u2019Aujourd\u2019hui.
\nHe also presents a study and a veranda at the 25th Salon des Artistes D\u00e9corateurs.<\/p>\n

1936
\n<\/strong> At the Salon des arts m\u00e9nagers, where he exhibited a bedroom in white lacquered wood and a dining room in solid oak, Roy\u00e8re took part in a competition on the theme of the weekend home, organized by the 3rd Exposition de l’habitation, of which Andr\u00e9 Bloc was general commissioner. Collaborating with architects Grandjean and Gu\u00e9nec, who won first prize, he designed furniture for mass production, using lacquered metal angles, sheet metal and fabric. At the Salon d’Automne, of which he became a member, he presented a young girl’s bedroom in varnished ash. The bed and table, built from the same structure, demonstrate his ability to design simple, economical forms. He also won the competition organized by the Fondation Foch to design 120 rooms for the nursing school at the Suresnes medical-surgical center. At the same time, he designed a series of furniture for the Aplemont workers’ housing estate in Frileuse, built by architect Jean Walter for the Soci\u00e9t\u00e9 havraise de logements \u00e9conomiques. Selected to take part in the Milan Triennale, one of Europe’s most important design events, Roy\u00e8re discovered Italian and Scandinavian designers such as Gio Ponti and Alvar Aalto, who were to influence his conception of interior design.<\/p>\n

1937<\/strong>
\nHeld in Paris, the International Exhibition of Art and Technology in Modern Life sets the seal on Roy\u00e8re\u2019s reputation as one of the most original and creative designers of the moment.
\nHis seventeen commissions there include ensembles for the Decorative Artists\u2019 pavilion, the Aluminum and Ceramics pavilions, the inn at the Centre Rural, and the pavilions for Private Architecture, the New-born Child, and Furniture Ensembles. In the Decorative Artists\u2019 pavilion his summer and winter nooks\u2014the Coin de repos pour l\u2019\u00e9t\u00e9 and the Coin de repos pour l\u2019hiver\u2014herald the stylistic shift that would become apparent at the Salon des Artistes D\u00e9corateurs in 1939.
\nAt the Salon d\u2019Automne he presents a luxury version of the Foch Foundation\u2019s nurses\u2019 bedrooms, and at the Salon des Arts M\u00e9nagers a cherrywood dining setting whose buffet and chairs are ornamented with a lattice pattern.
\nAt the Coin de Monsieur et Madame exhibition organized by Art et Industrie magazine, he shows the bookshelf model designed for the Foch Foundation the year before.
\nHe also becomes a member of the Salon des Artistes D\u00e9corateurs.<\/p>\n

1938<\/strong>
\nFor his friend Henri Lazard\u2019s apartment in Passy, Roy\u00e8re\u2019s creations include an armchair of oversized metal tubing, reminiscent of Dr Decourt\u2019s 1932 sofa. In a house on the shore of Lac d\u2019Enghien, the same tubing\u2014but in lacquered wood\u2014forms the structure of the furnishings and highlights the windows and doors. In an apartment he designs for a Savoie family moving to Rue du G\u00e9n\u00e9ral-Foy in Paris, this tubing outlines an alcove and the contours of a sofa bed.
\nAt the Salon des Artistes D\u00e9corateurs, his chest of drawers is a model of modernist sobriety: with no handles or ornamentation, its front achieves its decorative effect from white lacquered drawers framed with blond oak.
\nAs organizer of the Decorative Art section at the Salon of French Art and Interior Design in Cairo, Roy\u00e8re obtains his first commission in the Middle East: the apartment of the president of the Cairo stock exchange.< He also designs the sets for Acts 3 and 4 of Septembre, a play written by Constance Coline and presented at the Th\u00e9\u00e2tre du Vieux- Colombier in Paris.<\/p>\n

1939<\/strong>
\nSpecially combined with the Salon de la Lumi\u00e8re lighting show, the 29th Salon des Artistes D\u00e9corateurs sees Roy\u00e8re show a boudoir as an artistic statement, in a return to ornamentation for items that will become classics within his repertoire: the Champignon standing lamp, the Tr\u00e8fle chair and the \u00c9l\u00e9phanteau armchair. Some of his memorable motifs make their first appearance here, notably the biomorphic shapes. The critics, however, respond neither to his determination to establish a decorative vocabulary nor to the modernity of some of the pieces, and dismiss his work as \u201cfairground Baroque.\u201d He also shows the \u00c9l\u00e9phanteau armchair with an Anneaux standing lamp at the Palais Galliera, as part of the exhibition From Idea to Form, organized by the Porza Association.
\nOnce again he is an entrant in Andr\u00e9 Bloc\u2019s Exposition de l\u2019Habitation, for which the theme is the hotel room. The judging panel awards him third prize for furniture whose sheet metal is perforated with cross-shapes and profiled with red and white-lacquered metal. These pieces will ultimately be mass-produced.<\/p>\n

1940<\/strong>
\nInitially mobilized as an artillery sergeant at the Fort de Charenton, then at Fontainebleau, after France\u2019s defeat Roy\u00e8re returns to working for Pierre Gouff\u00e9. Using his work as a decorator as cover, he is an active member of the Resistance until the end of the War.<\/p>\n

He carries out a few commissions, including the Henry \u00e0 la Pens\u00e9e haute couture store on Rue du Faubourg Saint-Honor\u00e9, and continues to take part in furniture exhibitions.<\/p>\n

At the Salon d\u2019Automne he shows a rustic dining setting together with an oak closet whose openwork doors form frames for four stained glass panels by Max Ingrand. These rurally inspired furnishings reflect not just his own taste, but also a certain return to tradition that marked the period.<\/p>\n

1941<\/strong>
\nAt the exhibition jointly organized by the Salon des Tuileries and the Soci\u00e9t\u00e9 Nationale des Ind\u00e9pendants, Roy\u00e8re presents a sanded oak sideboard, once again of rustic inspiration, whose diagonal wooden panels form chevrons highlighted with studded red leather.<\/p>\n

1942<\/strong>
\nAt the 30th Salon des Artistes D\u00e9corateurs his mountain chalet living room is given a warm public reception. The ensemble features a staircase of fir slats perforated with playing card motifs\u2014their first appearance in his ornamental repertoire. A goatskin-covered armchair in front of the fireplace signals the Banane sofa to come. Still gutsy and rebellious despite the German occupation, Roy\u00e8re used a Tricolor decoration for the fireplace. At the Exposition Nationale des Beaux-Arts he shows a meticulously executed closet veneered with waxed zebrano wood, the work of cabinetmakers Sanyas and Popot.
\nHe leaves Gouff\u00e9 to open his own agency on Rue d\u2019Argenson in Paris.<\/p>\n

1943<\/strong>
\nAt the Salon d\u2019Automne Roy\u00e8re presents his first straw marquetry piece, a sideboard embellished with red and green straw stars.<\/p>\n

1945<\/strong>
\nAdapting to the general tendency of a return to the styles of the past, he comes to the Salon d\u2019Automne with a twodoor, two-drawer neoclassical rosewood sideboard. For the Salon des Artistes D\u00e9corateurs his contribution is a rustic-inspired oak bedroom setting in the spirit of the sideboard shown at the Salon des Tuileries in 1941.<\/p>\n

1946<\/strong>
\nDeciding to break into the foreign market, he opens the Jean Roy\u00e8re et Aladin gallery at 8 Rue Kasr-el-Nil in Cairo, nextdoor to the Livres en France bookshop run by his poet friend Nelly Vaucher-Zanari. Gabriel Chamma becomes his permanent representative. The magazine Plaisir de France commissions him to decorate their offices.
\nAt the 32nd Salon des Artistes D\u00e9corateurs he shows a rustic, Proven\u00e7al-inspired dining room for an inn, furnished with Ondulation tables and chairs. His contribution to the Art de la Table exhibition organized by Art et Industrie magazine is a table whose limestone top rests on legs whose three undulating tubes enclose a suspended metal ball.
\nHe becomes a member of the Soci\u00e9t\u00e9 Nationale des Beaux-Arts.<\/p>\n

1947<\/strong>
\nRoy\u00e8re redecorates his mother\u2019s Paris apartment, at 234 Rue du Faubourg Saint-Honor\u00e9, prior to moving in. This marks the appearance of his first biomorphic pieces: a Boule sofa and a Flaque coffee table. The same year he creates the Bureau pour une femme d\u2019affaires (Desk for a Businesswoman) in gray-lacquered sheet metal dotted with white dots.
\nAccompanied by a Tour Eiffel table and standing lamp, the Boule sofa is shown in a dark red version at the La R\u00e9sidence Fran\u00e7aise exhibition organized by Art et Industrie magazine. At the Salon des Artistes D\u00e9corateurs he offers a canopy bed featuring latticepatterned red-lacquered metal tubing.
\nAiming at the summer market, he opens a new Jean Roy\u00e8re et Aladin gallery on Place aux Herbes in Saint-Tropez.
\nThe success of his Egyptian venture leads him to create an agency on Avenue des Fran\u00e7ais in Beirut, in association with Lebanese architect Nadim Majdalani. Understanding each other perfectly, they win commissions for the country\u2019s major decoration projects. The decoration of a big holiday house in Sainte-Maxime is the chance to develop his new ornamental vocabulary, and he brings real whimsicality to his mixing of materials and colors. He will later design more sober bedroom furniture in exotic wood for the same client\u2019s Parisian apartment.
\nHe contributes to the D\u00eeners d\u2019Et\u00e9 (Summer Dinners) exhibition, organized by Art et Industrie magazine, and to the Salon des Artistes D\u00e9corateurs with a Bachelor Attic. Headed notepaper from this period makes mention of a gallery on Rue Saint-Jean in Le Touquet. His decoration of the reception rooms at the French Consulate in Alexandria\u2014his first public commission\u2014establishes his reputation in Egypt. Revolving around sycamore and bronze, his approach combines the luxurious and the restrained; his fanciful side is only allowed to show through in the wool carpet for the dining room and the huge H\u00e9risson ceiling lamp in the main lounge.
\nThe luxurious furniture for the Boutros-Ghali family\u2019s dining room in Cairo is made of Macassar ebony sheathed with parchment.
\nBetween 1948-1953 he carries out major projects in Egypt\u2014among them the Shepheard\u2019s and Semiramis hotels\u2014as well as doing interior design for local notables and French company directors.<\/p>\n

1949<\/strong>
\nRoy\u00e8re leaves Rue d\u2019Argenson for a more spacious, two-level gallery at 182 Rue du Faubourg Saint-Honor\u00e9, where he organizes major exhibitions.
\nFor the 9th Salon de l\u2019Imagerie Fran\u00e7aise at the Palais Galliera, where he is in charge of the Garden Furniture and Decoration section, he bases an entire set of garden furniture on a sine curve of garnet-colored lacquered metal tubing. At the Salon des Artistes D\u00e9corateurs he presents an impressive study in zebrano wood, with a lounge-corner offering a version of his Banane sofa and a Flaque coffee table.
\nHe meets Gaston Dutilleul, who commissions him for his Parisian apartment and will remain a loyal client until 1972.
\nHe takes part in the Formes Fran\u00e7aises exhibition at the Maison de France in the Rockefeller Center in New York, organized by Art et Industrie magazine.
\nRoy\u00e8re\u2019s sole project in North America is the Kuwait Embassy in Washington, to which he gives a period look. In Egypt the French government commissions the decoration of a lounge ornamented with a Jean Cocteau fresco for the Cultural Center in Cairo. Published in no. 53 of the magazine Le D\u00e9cor d\u2019Aujourd\u2019hui, his \u201cTravel Notes of a French Interior Designer in Scandinavia\u201d recount the powerful impression made on him by Scandinavian decorative art.<\/p>\n

1950<\/strong>
\nRoy\u00e8re produces classically elegant sycamore furniture for the lobby and one of the dining rooms at the Drouant restaurant in Paris. At Thonon-les-Bains in Haute Savoie he works on a weekend house with architect Maurice Novarina. He also designs a table and some wall lamps for Novarina.
\nThe Ministry of Foreign Affairs engages him for the lounges in the new French Legation in Helsinki, built by French architect F\u00e9lix Bruneau and Finnish architect Erkki Huttunen. Here he allows himself greater freedom than at the consulate in Alexandria, installing garnet and yellow Boule armchairs on a vast, white, freeform wool carpet.<\/p>\n

1951<\/strong>
\nRoy\u00e8re visits the Milan Triennial and the festival held in London to mark the centenary of the Universal Exhibition. His two articles about the events appear in nos. 65 and 66 of Le D\u00e9cor d\u2019Aujourd\u2019hui.
\nAt the Salon des Arts M\u00e9nagers he shows rattan bedroom furniture and a black-lacquered dining room ensemble; the latter notably includes a three-segment sideboard whose central panel, outlined by a sine curve, is covered with raffia.<\/p>\n

1952<\/strong>
\nAt the Spirit of Paris exhibition organized by Art et Industrie magazine at the Mus\u00e9e des Arts D\u00e9coratifs in Paris, Roy\u00e8re presents a young people\u2019s bedroom whose royal blue felt corner banquette is dotted\u2014like the curtains\u2014with tartan fabric.
\nThe design of the Mille Pieds standing lamp recurs in the legs of both the table and the console, and two oak desks are set into an S-shaped lacquered metal structure. A biomorphic chair and armchair of royal blue-lacquered metal are the work of his associate Jean-Paul Gauberti.
\nAt the 36th Salon des Artistes D\u00e9corateurs, his varnished ash bedroom furniture is embellished with panels of dried flowers.
\nThe political situation in Egypt forces him to close his Cairo gallery, but he maintains a consultancy there, directed by Ernest Chouchani, until 1957. In Saudi Arabia he decorates the palace built by architect Nadim Majdalani for Prince Faisal.<\/p>\n

1953<\/strong>
\nRoy\u00e8re buys a small fisherman\u2019s house in St-Tropez and christens it Le Coin Timbr\u00e9 (Stamp Corner) after the postage stamp panels he uses to decorate the doors.
\nIn Paris he contributes to the exhibition The Happy Home: Paule Marrot and Her Friends, at the Mus\u00e9e des Arts D\u00e9coratifs. At the Salon des Arts M\u00e9nagers, he presents lattice-patterned rattan core dining room furniture, and at the 37th Salon des Artistes D\u00e9corateurs, a mahogany dining room ensemble created for the Drouant restaurant.
\nSupervising the renovation of the Le Capitole hotel in Beirut, one of the biggest luxury establishments in the Middle East, he has the furnishings and decorative items made by Lebanese tradesman. While taking a sober approach to the rooms, he lets his imagination run free in the reception areas, notably with marble floors all made to different designs.<\/p>\n

1954<\/strong>
\nAt the 38th Salon des Artistes D\u00e9corateurs, where the theme is \u201cYouth and the Living Environment\u201d, he presents Mon Coeur Balance, a project for a bar in a youth hostel in the Alps. Its system of rope V\u2019s prefigures his Yo-yo motif.
\nFor the Salon des Arts M\u00e9nagers he designs the Egg armchair, covered with orange rep and gray velvet. It is accompanied by a Flaque black straw marquetry coffee table with traces of red and yellow and multicolored stars. This table will become a classic part of the Roy\u00e8re repertoire.
\nRoy\u00e8re brings his humorously fanciful touch to the decorating of an artist\u2019s studio in Montmartre. And for a California-style house built by Wolfgang Ewerth for Serge Varsano in Casablanca, Morocco, he combines his own furniture, notably the Sculpture armchairs, with contemporary pieces by Jacques Adnet and Serge Mouille.<\/p>\n

During an exhibition he organizes at the Tehran University of the Arts, he gives a lecture on interior design. This leads to a meeting with architect Mohsen Foroughi which will be decisive for his career in Iran.<\/p>\n

1955<\/strong>
\nAt the 39th Salon des Artistes D\u00e9corateurs, Roy\u00e8re presents the office designed for fabric dealer Raoul Voos. It includesSculpture armchairs covered with purple-patterned chintz and Leklint paper lamps by Danish architect Kaare Klint.<\/p>\n

The Salon des Arts M\u00e9nagers features a metal coffee table designed for an admirer of Calder, with a boomerang-shaped top seton Yo-yo legs. He decorates the bedroom and dining room of singer Henri Salvador\u2019s apartment in Paris. This is also the period of the first known version of the Liane wall lamp, already seen in the maquette for the conversion of a mill in 1952.
\nIn the Middle East he designs neoclassical furniture for the Arab Bank in Baghdad, working in collaboration with wrought-iron craftsman Raymond Subes. He also designs the interior of the restaurant at the Ambassador Hotel in Jerusalem; and creates oak office furniture in a biomorphic vein for King Hussein of Jordan\u2019s palace on the shores of the Dead Sea.
\nIn Beirut architect Nadim Majdalani opens Roy\u00e8re\u2019s L\u2019Atelier gallery on Avenue Sleiman-Boustani, which takes over from the agency on the Avenue des Fran\u00e7ais. Despite prestigious commissions, Roy\u00e8re senses instability in the Middle East; deciding to turn to Latin America, he opens Le Magasin de Paris in Lima, in association with leading Peruvian antiquarian Andr\u00e9 Castoriano.<\/p>\n

1956
\n<\/strong>At the 40th Salon des Artistes D\u00e9corateurs he presents his Charme de Paris bedroom, with skirted Yo-yo chairs and a canopy bed that combines the metal frame with exuberant tulle hangings.
\nMeanwhile the decoration of a contemporary house by architect Alfred Bernard at Pontault-Combault, near Paris, signals a decisive change in Roy\u00e8re\u2019s work, now focused exclusively on furniture. In his Rue du Faubourg Saint-Honor\u00e9 gallery he organizes a largescale exhibition of lacquerwork by Bernard Dunand, Jean May- Laffite, Maurice Alvo, Ren\u00e9 Fumeron, and Andr\u00e9 Dambrun.
\n1957
\nCommissioned to decorate the office of the president of the new Chamber of Commerce in Le Havre, Roy\u00e8re comes up with neoclassical pieces in a context of teak woodwork orchestrated with columns. In a very different spirit he equips the bedrooms, dining room, bar, and lounge of the Steel Research Institute (IRSID) near Metz. The bar stools have seats in the form of soccer balls and the lounge furnishings\u2014armchairs with incurving backs and freeform coffee tables\u2014are based on the same black metallic structure rounded off with a Yo-yo motif.
\nJean Roy\u00e8re restores his family home, Le Loch-Bihan, at Auray in the Morbihan d\u00e9partement.
\nExtending his activities to Brazil, he opens the Esquisses gallery in S\u00e3o Paulo. The director is Ernest Chouchani, his former representative in Cairo.<\/p>\n

1958<\/strong>
\nHe collaborates with architect Pierre Vago on the interior of the Le Fouquet\u2019s brasserie on the Champs Elys\u00e9es.
\nTo mark the occasion of his marriage to Farah Diba, the Shah of Iran asks Roy\u00e8re to design two lounges, a study and a cinema for the Sa\u2019ad Abad palace. He also commissions the designing of apartments for his sisters, the princesses Shams and Ashraf, and his daughter, Princess Shahnaz, for whom Roy\u00e8re creates witty garden furniture. In addition, he makes furniture for Princess Shahnaz\u2019s private office, whose metal-rod legs are held together by balls of copper. The sheer scope of these projects leads Roy\u00e8re to open an agency in Tehran.
\nHe does the interior design for the Amman Club hotel, one of Jordan\u2019s biggest luxury establishments.
\nChemin\u00e9es et Coins de Feu, a book on contemporary fireplaces, is published by Editions Charles Moreau, with a preface by Jean Roy\u00e8re.<\/p>\n

1959<\/strong>
\nThe 41st Salon des Artistes D\u00e9corateurs will be Roy\u00e8re\u2019s last. He shows the biomorphic armchairs created for the Shah of Iran\u2019s cinema and, for the first time, the Liane wall lamp.
\nIn addition to decorating the Park Hotel in Tehran, a project commissioned by the Diba family, he works on Baharestan Palace, the new Senate building designed by Mohsen Foroughi and Heydar Ghiai. The Senate chamber is provided with gilded aluminum seats covered with garnet leather. For the Shah\u2019s Sa\u2019ad Abad residence he creates a markedly architectural desk whose two slabs of glass are held in place by two strips of metal.
\nThe Senate project makes Roy\u00e8re\u2019s name in the Middle East.<\/p>\n

1960<\/strong>
\nJean Roy\u00e8re has a \u201cBrigitte\u201d model prefabricated housebuilt for himself at La Dormerie in the Forest of Marly. Gaston Dutilleul asks him to help fit out the townhouse in Boulogne which includes his living quarters and the school for disadvantaged children he has founded. For the dining room Roy\u00e8re designs a buffet whose three doors have concave squares cut through them; the structure, with its patinated steel rods attached to the buffet with balls of copper, is reminiscent of the furnishings made for Princess Shahnaz.<\/p>\n

1961<\/strong>
\nThe Compagnie G\u00e9n\u00e9rale Transatlantique calls on Roy\u00e8re and Jacques L\u00e9vy-Ravier for the decoration of the captain\u2019s quarters on the ocean liner France. Roy\u00e8re is meticulous in his choice of colors and the way they contrast with the black-lacquered furnishings. He also fits out cabins for the liner M\u00e9lusine.
\nOther projects include the Bristol Hotel in Beirut and an apartment for Mohsen Foroughi, in which he combines the Liane wall lamp with seating by Eero Saarinen and Harry Bertoia.<\/p>\n

1963<\/strong>
\nRoy\u00e8re organizes an exhibition of drawings in Neuch\u00e2tel, Geneva, and La Chaux-de-Fonds, and engages a representative for Switzerland.
\nAn exhibition at the Memorial Union in New York features his latest creations, notably the models and photographs of Baharestan Palace and of the cinema designed for the Shah of Iran.<\/p>\n

In Saudi Arabia he produces a luxurious, highly ornamental, orientallyinflected decor for the palace of the king and queen.<\/p>\n

1964<\/strong>
\nHe designs his cousin Roger Brian\u2019s offices at the Maison de la Radio in Paris, newly built by architect Henry Bernard (1912-1994).<\/p>\n

1965<\/strong>
\nRoy\u00e8re makes his last visit to the Milan Triennial. His article \u201cThe 13th Milan Triennial\u201d on the event appears in the January-February issue of Mobilier et D\u00e9coration.<\/p>\n

1966<\/strong>
\nFor his final participation in an exhibition\u2014D\u00e9cors Insolites chez Tristan de Salazar, at the H\u00f4tel de Sens in Paris\u2014he presents a project for a \u201cliving room on the 50th floor of a building in Manhattan,\u201d which brings together his most accomplished creations: the Flaque coffee table, Banane sofa and Liane wall lamp.
\nHe has the villa Almudayna built for him on Majorca.<\/p>\n

1969<\/strong>
\nAsked to handle the decoration of offices, the bedrooms and the reading space at the Fondation Avicenne, the student residence in Paris designed by Andr\u00e9 Bloc, Mohsen Foroughi and Claude Parent, Roy\u00e8re creates restrained ensembles including pieces by such design greats as Harry Bertoia and Eero Saarinen.<\/p>\n

1970<\/strong>
\nRoy\u00e8re publishes Harems et Pieds Dor\u00e9s (Harems and Gilded Feet), a portrait of the Middle East and the kings and princes he has worked for. He also writes an autobiography, which remains unpublished.<\/p>\n

1972<\/strong>
\nJean Roy\u00e8re bows out of the interior design business.<\/p>\n

He now divides his time between France and the United States, which he makes his home in 1980.
\nHe calls in Axel de Heeckeren to organize a sale of his furniture, which takes place at H\u00f4tel Drouot in Paris on 19 June 1980. He also consults the curators at the Mus\u00e9e des Arts D\u00e9coratifs in Paris, to which he bequeaths his archives and some of the furniture from his apartment, including a Banane sofa, a free-form black carpet, a straw marquetry sideboard, a Persan wall lamp, and curtains by Paule Marrot.<\/p>\n

1981<\/strong>
\nOn 14 May Jean Roy\u00e8re dies in Pennsylvania.<\/p>\n","protected":false},"excerpt":{"rendered":"

1902-1931 Jean Roy\u00e8re is born in Paris in 1902. Hisfather L\u00e9once Roy\u00e8re, of Breton extraction, is a high-ranking civil servant at the Paris Pr\u00e9fecture, and his mother, Marguerite Niers, was born in Vienna into a family from Lorraine that emigrated after the war of 1870. Jean\u2019s upbringing is strict and sheltered: after a classical education […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-36593","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nFurniture inventory and biography of Jean Roy\u00e8re.<\/title>\n<meta name=\"description\" content=\"Inventory of available pieces at Galerie Patrick Seguin and detailed biography of Jean Roy\u00e8re.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.patrickseguin.com\/en\/cv-jean-royere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Furniture inventory and biography of Jean Roy\u00e8re.\" \/>\n<meta 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