Saint Laurent and Anthony Vaccarello present an exclusive collaboration with Charlotte Perriand on the occasion of Milan design week.
Entitled “SAINT LAURENT – CHARLOTTE PERRIAND”, the exhibition will showcase four exceptional furniture designs by Charlotte Perriand, dating from 1943 – 1967. These historic masterpieces, which existed only as single editions or as sketches prior to this project, have been reissued using a painstaking development process.

This partnership was conceived in order to bring these iconic creations, previously hidden from public view in private collections, or forgotten in Perriand’s archives, back to life.

Each piece will be available on a made-to-order basis, as a limited edition.

Bibliothèque Rio de Janeiro, 1962
(Rio de Janeiro bookcase)
Rosewood and cane
h. 260 x l. 455 x d. 43 cm
Limited edition of 8

This distinctive bookcase was conceived to display works of art alongside books. Designed in Rio de Janeiro in 1962 for Jacques Martin, Charlotte Perriand’s husband, it was originally intended to be used in the reception area of his apartment. Made from typically Brazilian solid rosewood, the “Bibliothèque Rio de Janeiro” is characterised by its imposing dimensions and regal construction. The sliding doors are made of woven cane, a local folk craft technique used to make the shades of traditional houses which Charlotte Perriand discovered during a trip to Brazil.

The unique existing model of the “Bibliothèque Rio de Janeiro” currently belongs to a private collection. While a legendary piece of design, over the past twenty-five years it has only been exhibited three times, in Paris, including at le Centre Pompidou and le Petit Palais. The creation of a limited edition as part of the Saint Laurent – Charlotte Perriand collection offers the opportunity to bring Charlotte Perriand’s works of art to a wider audience.

Banquette de la Résidence de l’Ambassadeur du Japon à Paris, 1967
(Sofa for the japanese Ambassador’s Residence in Paris)
Rosewood, cane and Jim Thomson Thai silk
h. 86 x l. 705 x d. 86 cm
Limited edition of 8

In 1966, Japanese architect Junzô Sakakura was commissioned by the Japanese government to design a new residence for the Japanese ambassador in Paris.
He entrusted his friend Charlotte Perriand with the interior architecture and furniture design. Once again, she was to reveal her in-depth knowledge of Japan. For the large reception room, she designed a monolithic five-seater sofa whose prestige and solemnity structured the space architecturally. This majestic work consists of an over seven metre-long base that curves upwards on either side of the seating. Resting on four set-back legs, the sofa appears to float above the ground, while the caning on its flanks creates an impression of lightness.

Developing this exceptional and unique piece demanded a great deal of work from Charlotte Perriand at the time. Nearly sixty years later, the Japanese Embassy in Paris helped to identify every detail of this banquette so that it could be manufactured once more, in limited numbers.

Fauteuil visiteur Indochine, 1943
(Indochina guest armchair)
Chromed tube, leather and rosewood
h. 75 x l. 58 x d. 82 cm
Limited edition of 30

Following her mission as advisor to the Japanese government on industrial art (August 1940–August 1941), Charlotte Perriand headed for Indochina, unable to reach the USA or Europe because of the war. In 1943, she was appointed Director of Crafts and Applied Arts in Indochina. At a time when disaster was sweeping through the Asia-Pacific region, Charlotte Perriand started a family with Jacques Martin, who was Director of Economic Affairs of Indochina. She designed several pieces of furniture for their personal use, including a guest armchair, of which only the drawing remains.

Eighty years on, the Saint Laurent – Charlotte Perriand collection has recreated this elegant chair — once lost in Indochina — with its seat crowned by a traditional Thai cushion composed of mats sewn together edge-to-edge.
Combining modernity with a vernacular element, this design exudes a timeless charm.

Table Mille-feuilles, 1963
(Mille-feuilles table)
Rosewood and cherrywood
h. 41 x ø 140 cm
Tabletop thickness: 8 cm
Limited edition of 30

Designed in 1963, the “Table Mille-Feuilles” comprises ten superimposed layers of two different varieties of wood, one light and one dark. Its circular top is bevelled around the edges and recessed in the centre to form concentric circles. Although a reduced-scale model was made, which Charlotte Perriand kept on her desk for the rest of her life, the “Table Mille-Feuilles” was never actually manufactured as machining the top proved too difficult.

This table is an exceptionally original piece, bearing witness to Charlotte Perriand’s creative genius. Made from the finest wood and in only thirty copies, each “Table Mille-Feuilles” is unique owing to the wood’s grain and the patterns created by the shaping process.

CHARLOTTE PERRIAND

Charlotte Perriand (1903–1999) was a key figure in twentieth-century modernism, working as an architect, designer, urban planner, and photographer.
She co-founded several avant-garde movements, including the Union des Artistes Modernes (1929), Formes Utiles (1949), and the Japan Committee on International Design (1954). Whether in France or overseas, for more than seventy years, Perriand contributed to the invention of modernity, most notably playing a major role in the history of design in Japan. From 1927 to 1937, she worked alongside Le Corbusier and Pierre Jeanneret on home furnishings, shaping the foundations of modern interior architecture and designing pieces that were to become iconic of the twentieth century.

Her furniture designs from the 1950s and 1960s, edited by Steph Simon, are now considered seminal works in design history and are showcased in some of the world’s most prestigious public and private collections.

Available exclusively at GALERIE PATRICK SEGUIN

We are thrilled to announce the launch of JEAN PROUVÉ: From furniture to architecture, The Laurence and Patrick Seguin collection: a book devoted to the incredible legacy of Jean Prouvé through a private collection.

This publication on Laurence and Patrick Seguin’s private collection is an exceptional tribute to the visionary work of JEAN PROUVÉ, iconic figure of 20th-century design and architecture. Through a meticulously compiled selection of furniture (primarily prototypes or rarely-seen pieces), demountable houses and architectural elements, the book plunges us into Prouvé’s singular world where aesthetics are placed at the service of function.

This new, fully bilingual publication presents the collection of work by Jean Prouvé assembled by Laurence and Patrick Seguin over the years. Generously illustrated with contemporary photographs and previously unpublished archive drawings, it brings to light a wide range of pieces designed by Jean Prouvé over more than three decades.

Offering intimate insight on the theme of “living with a collection”, this publication illustrates how all these pieces, acquired since the end of the 1980s, integrate seamlessly into the daily life of Laurence and Patrick Seguin. Between their apartment, their Paris gallery, and their property in the south of France (Var), where the demountable houses are installed in the open air in a conversation with nature, this collection embodies a profound passion for Prouvé’s work and attests to the way his creations continue to thrive and inspire. This unique private collection, here presented as a cohesive ensemble, is shown at exhibitions or for special projects such as this exclusive publication.

The book is now available on our website, in bookshops and at our Paris gallery!

Art Intelligence Global, GALERIE PATRICK SEGUIN and NOT A HOTEL are pleased to jointly present “Modern Dreamers: Iconic Art, Architecture and Design”, an exhibition opening on March 25th at Art Intelligence Global’s exhibition space in Hong Kong.

Coinciding with Art Basel Hong Kong, the exhibition is a collaborative showcase celebrating the intersections and synergies found at the highest level of art, architecture and design.

At the heart of the exhibition is a JEAN PROUVÉ-1944 6×6 Demountable House. The exhibition marks the unveiling of the Demountable House in Asia; after the exhibition, the Demountable House will be installed in NOT A HOTEL’s Tokyo headquarters.

The show also features rare architectural elements designed by Jean Prouvé, including a panel with portholes from the Bouqueval demountable school (Paris region) and a set of furniture by Jean Prouvé. Highlights include the aluminum table no. 804, a rare prototype shown for the first time, a set from one and the same sprovenance comprising an S.A.M. table no. 506 and its four Métropole chairs no. 305, all originally lacquered in Van Dyck brown, and a Cité armchair from 1930.

In dialogue with these pieces, Art Intelligence Global has curated a thoughtfully selected assemblage of works to be featured in the exhibition. Highlights include works by modern Japanese master Morikazu Kumagai, celebrated contemporary artist Yayoi Kusama, distinguished ceramicist Rikichi Miyanaga as well as Kazuo Yagi, one of the founding members of the post-war avant-garde movement Sōdeisha.

As one of the first of its kind in Asia, the multi-disciplinary exhibition offers a sophisticated fusion of art, design, history and culture and presents a unique opportunity to engage with 20th century innovation and modern to post-war artistic expression in an integrated, cohesive and interactive context.

MODERN DREAMERS:
ICONIC ART, ARCHITECTURE AND DESIGN
March 25 – April 7, 2025

Art Intelligence Global, Suite A,
1st Floor TS Tower, 43 Heung Yip Road
Wong Chuk Hang, Hong Kong, China

The Guéridon Haut, designed by JEAN PROUVÉ around 1941, features an oak veneer tabletop supported by three obliquely positioned triangular legs, connected by a three-branched tubular stretcher. The structure is secured with metal brackets screwed into the wood.

Created during the war, this now-iconic model follows the same leg principle as the S.A.M. dining table, developed simultaneously by Ateliers Jean Prouvé. Unlike versions with a metal base, this one stands out with a wooden structure, showcasing Jean Prouvé’s ingenuity and his ability to adapt to material shortages, particularly steel, under the extreme conditions of the war.

Pairing perfectly with the Métropole no. 305 chairs, the harmony of its proportions and the ideal diameter of its tabletop make this pedestal table easy to fit in any space.

For inquiries, please send us a private message or an email at info@patrickseguin.com

This Métropole no. 305 chair, lacquered in a metallic green, was designed by JEAN PROUVÉ around 1950.
Featuring a rare and elegant color, fully original, this chair reveals a remarkable patina that enhances this iconic and timeless model.

The Métropole chair embodies the fruits of Prouvé’s research into creating a chair that was both light and robust.Developed by the Ateliers Jean Prouvé in 1950, this new version of the “semi-metallic” chairs – metal frame, wooden seat – merged the principles of the prewar metal-framed chair no. 4 with the mounting systems of earlier wooden models. The frame featured two “uniform strength” pressed steel rear uprights, welded to curved tubes forming the front legs, with braces reinforcing the structure.

Put on the market a few months after the knockdown model (Cafétéria no. 300), the Métropole no. 305 introduced innovative methods for attaching metal components: a tubular brace connected the pressed steel rear uprights, to whose interior the tubes of the front legs were welded. The frame was notched to receive the backrest— fixed to welded plates with Parker screws and brass or aluminum studs—and the rear of the plywood seat, which slipped into a slot. The protective plugs for the legs were inserted into the metal uprights. The molded plywood components were varnished and the metal parts oven lacquered.

The Métropole no. 305 chair is one of the finest examples of Prouvé’s vision for industrialized production. Examples of this emblematic chair are notably part of the collections of major museums, such as the MoMa in New York and the Centre Georges Pompidou in Paris.

For this 20th edition of DESIGN MIAMI, GALERIE PATRICK SEGUIN is showing a selection of furniture and lighting designed by JEAN ROYÈRE from the late 1940s to the early 1960s.

Jean Royère approached his work with great freedom. He designed pieces that were daring and refined, combining traditional craftsmanship with contemporary innovation. Inspired by the armillary spheres of the 16th century, the “Sphere” table is a perfect example of this approach. Four spherical feet in gold metal support a rectangular marble top, giving an impression of levitation. It was designed in 1939 and exhibited that same year at the Salon des Artistes Décorateurs in Paris; this model was made for a private commission around 1950.

As with the “Sphere” table, the pair of “Auxerre” chairs reflects the extraordinary sense of proportion and volume that Royère demonstrated throughout his career. This model features armrests subtly incorporated into an extension of its wrap-around backrest. Its sinusoidal lines also contrast with the rectangularity of the nest of tables, whose gold patinated metal legs support a delicate, partially mirrored glass top. The “Dents Grecques” pattern formed by the legs, skillfully worked into the table design, contributes to its air of refinement.

The names of Jean Royère’s creations often betray their organic and vegetal inspirations – for example the “Bouquet” lights, wall- or ceiling-mounted, are composed of metal ‘branches’, each of which ‘blossoms’ into a lampshade. Beneath the “Bouquet” hanging light, the console table in black-stained oak with its openwork top filters the light, projecting a subtle play of shadows.

The installation is completed by an extremely elegant semi-circular dressing table made in 1962 for a private commission, adorned with three illuminated mirrors and accompanied by a “Gazelle” stool, whose sycamore legs resemble the animal’s horns.

DESIGN MIAMI.
December 3-8, 2024
Convention Center Drive & 19th Street
Miami Beach, Florida, USA
Booth G 01

GALERIE PATRICK SEGUIN announces the release of an exclusive video on its YouTube channel, featuring the “Better Days” House, designed by JEAN PROUVÉ in 1956.

This stop-motion video, created during the set-up of the house, immerses you in the fascinating construction process of this demountable house. Each step is revealed, showcasing the ingenuity of Prouvé’s construction system.

The “Better Days” House, designed by Jean Prouvé, perfectly summed up the notion of the industrially produced detached dwelling—lasting, light, economical and comfortable—that he had been working on for almost twenty years. The project also illustrated the constructor’s reactivity. Faced with the urgency of the situation caused by the housing crisis, in just a few weeks he perfected a model combining his earlier experiments with an innovative building technique and the latest materials.

The construction approach was based on a concept devised with architect Maurice Silvy at Prouvé’s factory in Maxéville in 1952. On a dished concrete base was placed a prefabricated steel central unit housing the kitchen, bathroom and toilet; supporting a pressed steel beam, the unit constituted the substructure. The shell was made of thermoformed wood sandwich panels and the roof of aluminum slabs that also extended out to cover the porch. The public was as enthused by the idea as practicing architects, but this 57m² (613 sq ft) house that took seven hours to assemble was too revolutionary for its time: the official approval needed for industrialization was not granted, and only five were ever built.

For inquiries about this historic demountable architecture, please send us an email at info@patrickseguin.com.⁠

Watch the vidéo and subscribe to our channel to not miss anything!

As part of the Art Basel Paris public program,GALERIE PATRICK SEGUIN is showing a JEAN PROUVÉ 6×9 demountable house on Avenue Winston Churchill, in front of the Grand Palais.

This stop-motion video, filmed during the two-day assembly of the house in the heart of Paris, highlights the fascinating construction process of this demountable architecture, designed in 1944 to be rapidly assembled and, if needed, demounted and moved elsewhere.

Free of charge and open to all, a visit to the 6×9 demountable house is an opportunity to observe the ingenuity of Prouvé’s construction system, deployed here using two portal frames around which the living spaces inside the pavilion are organized.

The 54m2 demountable house is furnished with a fine selection of Jean Prouvé furniture.

Watch the vidéo and subscribe to our channel to not miss anything!