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In February 1940 Europe was at war, everything was scarce and Charlotte Perriand was living in a precarious situation as orders seemed to dry up. The designer was still brooding on her political disagreements with Le Corbusier, when she received a telegram from another disciple of the Swiss master, Junzo Sakakura, who had taken refuge in his country of origin: “We want to invite you to become Design Consultant for the Decorative Arts at the Ministry of Commerce. Salary 100,000 francs per annum. Fees. Travel expenses. Await detailed response in letter. Sakura.” The unexpected telegram gave her the opportunity to visit a country, which had for a long time held a particular fascination for her. Charlotte Perriand accepted, a fact celebrated in letter in the form of a ribbon, 8.3 metres long, received on the 13th of March and entirely calligraphed by the illustrator, Shikoku Munakata. On 15 June 1940 she boarded the Hakusan Maru and set off for Kobe. During the weeks of the voyage France capitulated and the architect made the acquaintance of some Japanese nationals. However, nothing had prepared her for the shock of her arrival. She wrote, "At the time, arriving in Japan was like arriving on the Moon." As soon as she had disembarked, the architect requested that she be allowed to travel the country from the major cities to the most remote villages. The technical skills of the Japanese craftsmen astonished her. She carried a tape measure with her wherever she went and measured the very precise dimensions and relationships of scale, which regulated Japanese spaces and objects. She noted with fascination the links with and differences from the Modulor in Le Corbusier's studio. To accompany her in her wanderings the Minister detached a young assistant, Sōri Yanagi, the future great Japanese industrial designer and son of Sōetsu Yanagi, the philosopher and founder of the Mingei movement ("popular art movement"). Sōri Yanagi took Charlotte Perriand to the Japanese Folk Crafts Museum, to the creation of which his father had contributed. There she discovered objects in accordance with the theory of Mingei, which advocates revalorisation of the hand-crafted art of ordinary people capable of producing honest pieces, of a fine aesthetic and technical quality, without for all that, being luxurious. In these objects Charlotte saw the perfect contrast to the grotesque Japanese artwork produced for export and the large-scale industrialisation of poor quality pieces already under way in the West. The designer organised one conference after another, held countless conversations with the Japanese craftsmen and designers, bidding them not to copy objects from the West. However, she conceived the idea of a major exhibition, which took only six months to set up. In March 1941 in the Takashiyama department stores, the first in Japan to offer a furnishing department, the first Charlotte Perriand exhibition, Contribution à l’équipement intérieur de l’habitation, Japon 2601. Sélection, tradition, création. was held. The exhibition was critically acclaimed and created relationships between pictures, photographs, ceramics and furniture. The objects of the people were displayed with the same care as tables by masters, which did not fail to cause a certain stir. In this exhibition Perriand also presented her own creations, in particular sets in bamboo, the ultimate traditional Asiatic material. In these pieces it was worked so that all its technical qualities emerged in modern compositions and lines. Finally the war caught up with Charlotte and in 1942 she had to flee to Indochina. In 1953 Charlotte Perriand finally returned to Japan, where she rejoined her husband, who had been appointed Director of the Regional Office of Air France in Tokyo. There she discovered her husband's staff accommodation, a traditional Japanese house, still empty, which had to be turned into an exhibition and living space. She designed the plan for this large low table for her new home. This sculptural piece is the direct descendant of her first free form table created in 1938. As in 1938, the asymmetric and shapely design of the table top give scope for forming the unexpected empty spaces, so essential for the artist. Thank to the free form, the designer transfigures furniture into functional sculptures, the features of which are often inspired by a pebble or the outline of a branch found in nature. Making better use of the Japanese craftwork she so admired, she called on the Miyoshi Mokko studio to produce this low table, which insinuates itself into a space designed for height. The Japanese studio chose only local species, the Hinoko cypress and the Manchurian walnut, assembled in the pure Japanese tradition, by means of screw feet, perfectly adjusted without any metal elements. The object seems to respond to the principles stipulated by the artist: modern in shape, traditional in the technique implemented, with irreproachable aesthetics, which never tend to the ostentatious. In 1955 Charlotte Perriand followed up her 1941 exhibition with another landmark event, Proposition d'une Synthèse des arts, Paris, 1955. Le Corbusier, Fernand Léger, Charlotte Perriand. The fruit of long years of reflection, it is a homage to Japan, proposing a meeting between two cultures. As in the 1941 exhibition, the decorative arts are accompanied by paintings and engravings, in particular by Le Corbusier and Soulages. Placed in the centre of the lounge, our example stands on a two-coloured rug, which emphasises its pure lines. The architect, Yoshinobu Yoshiwara, although critical of the exhibition, could not help commenting, "It is a sculptural object. And I think that Perriand's works of this type are extraordinary." Our piece then became part of several major exhibitions on the work of Perriand, the last of which was the Le monde nouveau de Charlotte Perriand exhibition in Paris in 2019-2020, organised by the Louis Vuitton Foundation.

夏洛特·貝里安 (1903-1999)

'形態' 矮桌

細節

夏洛特·貝里安 (1903-1999)
'形態' 矮桌
雲片柏胡桃楸
14 5/8 x 78 ½ x 45 5/8 in. (38 x 199.5 x 116 cm.)
(3)大約1953年為傑克斯·馬丁與夏洛特·貝里安宅邸設計, 於1954年Miyoshi Mokko工作室制作完成

來源

日本東京草月流花道學院 1958年
法國巴黎 François Laffanour畫廊（下城區）
現藏者得自上述畫廊

出版

2005年《Charlotte Perriand. Un art d'habiter》 J. Barsac著巴黎法國 (彩色圖版, 第401頁)
2008年《Charlotte Perriand et le Japon》 J. Barsac著巴黎法國（彩色圖版, 第229, 235和237頁)
2015年《Charlotte Perriand. L'oeuvre complète. Volume 2. 1940-1955》 J. Barsac著, 巴黎法國 (彩色圖版, 第443,467,471和488頁)

展覽

1955年「Proposition d'une Synthèse des arts, Paris, 1955. Le Corbusier, Fernand Léger, Charlotte Perriand」東京日本
2011年10月-2012年1月現代藝術博物館熊倉; 2012年1月-3月廣島市立當代藝術博物館廣島; 2012年4月-6月目黑區美術館東京「Charlotte Perriand et le Japon」 (彩色圖版, 第170頁, 第245號; 圖版, 第192頁, 第299號)
2013年2月-5月「Charlotte Perriand, l’aventure japonaise」聖艾蒂安都會區現代藝術博物館聖艾蒂安 (彩色圖版, 151,154-155,156和163頁; 圖版, 第165頁)
2019年10月-2020年2月「Le monde nouveau de Charlotte Perriand」路易·威登基金會巴黎法國 (圖版, 第405頁;引用, 第424頁)

注意事項

Artist's Resale Right ("droit de Suite"). If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection details. These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable at 5,5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

更多詳情

This lot will be sold with a modern rug recreating the one presented with the table at the Proposition d'une synthèse des arts exhibition.

業務規定

榮譽呈獻

Etienne Sallon

esallon@christies.com +33 (0) 1 40 76 86 03

拍品專文

1940年2月，戰火硝煙中的歐洲，物資極度匱乏，面對或已枯竭的訂單，夏洛特‧貝里安的生活狀況岌岌可危。而這位設計師還在糾結於與勒·柯布西耶 (Le Corbusier) 的政治分歧。此時，她接到一封來自這位瑞士建築大師另一位已回國避難的日本學徒阪倉准三的電報：“我們想邀請你擔任日本商務部的裝飾藝術設計顧問，年薪十萬法郎（含雜費及差旅費）。靜候回復。阪倉。”這封意外的電報作為一個契機，使她得以走訪這個長時間以來一直對其抱有特殊迷戀的國家。夏洛特‧貝里安接受了邀請，並在回信中附上一條三月十三日收到的，長8.3米的緞帶，上書插畫家Shikoku Munakata的書法，以示慶賀。

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