Exceptionnelle et très rare sculpture d’Emile Gilioli (1911 – 1977)
Bronze doré et poli. Numéroté et signé 5/6.
Fonderia Tesconi Pietrasanta, Italie, 1946.
46 X 25 X 46 cm.
Collection Hélène Greiner


L’œuvre de Gilioli est d’une unité impressionnante. Si l’on voulait user d’un processus indéfendable, on pourrait dire que les œuvres de Gilioli peuvent être envisagées en fonction de trois constituantes principales : la forme, la matière, la façon. La forme, tournant autour de l’idéalité de celle de l’œuf ou du galet poli dans le ressac, on l’aura compris d’essence brancusienne ou arpienne, sans le tournant érotique d’Arp et plus près de la plénitude sensuelle de Brancusi, mais toujours prête à s’allier à l’autre pureté, soudain aigüe, du cristal, idéal de l’accouplement de la courbe et de l’angle, de la forme femelle et mâle. La matière de ce bon ouvrier, comme gêné par la simplicité de son travail est pressé de la faire excuser, lui seul sachant que plus ça parait simple et plus ce lui fut long et difficile, rare et somptueux, le marbre sans défaut ou au contraire aux veines les plus exquises, agate, cristal de Baccarat. La façon polie, lissée, jusqu’au miroir, encore une des bonnes manières de l’artisan sans reproche. En fait, on s’en doute, forme, matière et façon sont inséparables et se conditionnent réciproquement. La forme exige sa matière et la façon de la travailler, comme aussi bien la matière impose la forme qui lui convient. Gilioli ne sépare pas les formes sorties de ses mains des formes que nous propose la nature. A sa façon, il dit : « La plus belle sculpture, pour moi, c’est le ciel ». De certaines de ses sculptures, il dit que ce n’est pas lui qui les a faites, qu’elles lui ont été « données » voulant indiquer qu’un galet, un rocher, lui ont proposé des rapports de formes qui correspondent à ce qu’il ressent comme un idéal.
Les œuvres d’Emile Gilioli sont exposées dans le monde entier: Musée National d’Art Moderne de Paris, Tate Gallery de Londres, Musée de Sculpture de Plain Air de Middelheim d’Anvers, Museo de Arte Moderna de Sao-Paulo, Museum of Modern Art de New York, Musée Bezabel de Jérusalem, Musée de Peinture et de Sculpture de Grenoble, Musée des Beaux-Arts d’Ostende, Musée National d’Histoire et d’Art de Luxembourg, Centre Georges-Pompidou à Paris, Musée de Sculpture de la Ville de Paris, Museo de Bellas Artes de Caracas, Musée des Beaux-Arts de Dunkerque, Musée des Beaux-Arts de Rouen, Museo dei Bozzetti Pietrasanta, Kunsthaus de Zurich, Musée Fabre Montpellier

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An Italian born in Paris, Emile Gilioli was one of the pre-eminent sculptors of the post-war Ecole de Paris. “Sculpture for me is about the rhythm of space and time. Space is an essential absence.”  For Gilioli, the challenge of sculpture was a fusion of art and architecture and the choice of material was paramount in determining the form of the object. During his career he sculpted in a wide range of materials, including granite, marble, crystal, onyx, agate, lapis-lazuli, porphyry, alabaster and cement.

 In 1946 after the Liberation he held his first exhibition in Paris at Galerie Breteau which lead to him being taken on by the high profile Galerie Denise René. Here he associated with leading avant-garde artists Poliakoff, Vasarely, Deyrolle and Dewasne, and also exhibited with Arp, Giacometti, Laurens and Picasso, and became friends with Brancusi. In 1949 he participated in a major exhibition at Galerie Colette Allendy with Deyrolle, Hartung, Soulages and Schneider which firmly established Gilioli at the forefront of the avant-garde. In 1951 he became vice-president of the prominent abstract group Espace, initiated by André Bloch, Fernand Léger and Le Corbusier. 

Gilioli’s work is represented in numerous major museum collections around the world, most notably the Tate Modern, London; Musée National d’Art Moderne, Paris; Museum of Modern Art, New York; Hirshorn Museum, New York; Art Institute of Chicago; Carnegie Institute, Pittsburgh; Museu de Arte Moderna, Sao Paulo; Museum of Miami; Elsingfors Kunsthall, Helsinki; Museum of Modern Art, Stockholm; Royal Museum, Belgium.

White bouclette, Ozu free form sofa and Bergman armchairs by XXe Siècle.

Bronze and glass coffee table by Bruni & Mangematin, circa 1970.

Sculpture by Jean Lambert Rucki. Signed and numbered.

Cabinet by André Sornay, circa 1960.

Ceramic luminous sculpture by Guy Bareff, unique piece, 2017.

Unique table by Jacques Duval Brasseur, signed, brushed steel, quartz and glass, France, circa 1970, L 171 W 125 H 45 cm
 
French Designer and Sculptor Jacques Duval-Brasseur definitely left his footprint in the design era as his unique pieces carry the beautiful and extraordinary essence of the 1970’s. 

Amongst his amazing tables and desks was his series of tables inspired from the nature: beautiful tree branches or animals made of bronze or brass serving as a base.

Although his designs feel modern, these pieces are considered antiques (originally produced in limited edition, making them sought-after by collectors). 

Coffee table by Fred Brouard, polished bronze and glass, France, circa 1970, signed and numbered 11/100, L 140 W 80 H 32 cm


Fred Brouard (1944-1999)
Fred Brouard, a celebrated sculptor and designer of furniture and jewelry was born in Normandy, France, on April 28, 1944. He entered the Ecole des Beaux-Arts in Rouen, where he studied under Savary Leleu, a well-known painter and sculptor.
In 1973, he opened his own workshop, and became friendly with many other artists and sculptors who would help him to further his career. Among them was Emilio Maccioni, who had an interior design shop. Brouard worked with him to create unusual and very original bronze furniture with unique curves, striking finishes and bold design.
He was a perfectionist, and worked with skilled metal artisans to refine his sculptures.

In 1984, Brouard opened a studio in Paris.

In 1986, he showed his jewelry at the Museum of Modern Art in Paris.

Fred Brouard was an artist possessed of great originality, and enjoyed a long successful career as a sculptor and designer, participating in numerous prestigious shows, and creating pieces for many private collections.

The work of Brouard is recognized as an important contribution to late 20th century design. It can today be found in the collection of the National Fund for Contemporary Art in France.

You can visit our updated website with new objects, lamps, paintings and furniture on www.xxesieclegalerie.com #midcentury #midcenturyfurniture #gallery #galerie

okTA312 Duval Brasseur

Happy Holidays and best wishes to all of you.
May 2020 bring peace, health and happiness.

Sculptural coffee table by Jacques Duval-Brasseur. Unique signed piece. Brushed steel and quartz. Circa 1970.

French designer and sculptor Jacques Duval-Brasseur left his footprint in the design era of the 1970’s. Amongst his amazing tables and desks was his series inspired from nature: beautiful tree branches or animals made of bronze, brass or steel. Originally produced in limited editions, his designs are sought-after by collectors.

IcoParisi-NewsletterRosewood desk by Ico Parisi, Italy, circa 1950, L 210 W 151 H 72 cm

Ico Parisi (Italy, 1916–1996)

Ico Parisi was an Italian architect and designer. Born Domenico Parisi in 1916 in Palermo, Italy, he was involved in building construction and architecture in Como during his early adulthood. By the 1940s, Parisi took up filmmaking and began designing furniture in 1945, for which he would become most renowned. His designs are characterized by their Italian mid-century Modern aesthetic, constructed using soft woods often cut into boomerang-like shapes, augmented by metal slats and boldly colored upholstery. His most prolific period was the two decades that preceded 1965, when he married and formed a design team with his wife, Luisa Aiani, in 1948. He studied architecture between 1949–1952 under Alberto Sartoris at the Institute Atheneum in Lausanne, Switzerland, and became a member of the Associazione per il Disegno Industriale in 1956. Parisi died in 1996.

 

NewLamp-BDF-Reseaux

New Lamp, Italy, c.1960, Dia 37cm H 40 cm

 
For this edition of Beirut Design Fair, we are happy to present “1960s, A DESIGN ODYSSEY” a tribute to the 50th anniversary of the moon landing.

On July 20, 1969, Armstrong stepped onto the lunar surface and described the event as “One small step for man, one giant leap for mankind.” The observation of space led to a new esthetic inspired by the planets. Movies like 2001 – Space Odyssey by Stanley Kubrick showed fantastic white and silver worlds with softly rounded plastic furniture. Imaginative forms, bright colors, and new materials were in demand for interior design.
The King Sun Lamp by Gae Aulenti, the Bubble Lamp by Franco Fraschini, and the Rotating Lamp by Michel Soulié, brought the Space Age into our terrestrial living rooms.
 

See you at the Seaside Arena!

Halls 1 & 2 – Beirut New Waterfront, Downtown Beirut – Lebanon

VIP Opening:
Wednesday 18 Sept., 6 pm to 10 pm

Public days
Thursday 19 & Friday 20 Sept., 3 pm to 9 pm
Saturday 21 & Sunday 22 Sept., 12 pm to 8 pm

Montage Fellini

Galerie XXe Siècle presents its new creation:
The Fellini Bench.

The design of the piece uses simple geometrical forms and combines precious materials: Bronze, mahogany, and saddle-stitched leather.
Its elegant look is a tribute to Italian design and to discrete luxury.

Dimensions L 220 H 40 W 70 cm.

O246-Gilioli-montage

Emile Gilioli 1911 – 1977 – L’oiseau Mystérieux (1967)

Bronze doré et poli, signé et numéroté 5/5, H 35cm avec le socle.

L’œuvre de Gilioli est d’une unité impressionnante. Si l’on voulait user d’un processus indéfendable, on pourrait dire que les œuvres de Gilioli peuvent être envisagées en fonction de trois constituantes principales : la forme, la matière, la façon. La forme, tournant autour de l’idéalité de celle de l’œuf ou du galet poli dans le ressac, on l’aura compris d’essence brancusienne ou arpienne, sans le tournant érotique d’Arp et plus près de la plénitude sensuelle de Brancusi, mais toujours prête à s’allier à l’autre pureté, soudain aigüe, du cristal, idéal de l’accouplement de la courbe et de l’angle, de la forme femelle et mâle. La matière de ce bon ouvrier, comme gêné par la simplicité de son travail est pressé de la faire excuser, lui seul sachant que plus ça parait simple et plus ce lui fut long et difficile, rare et somptueux, le marbre sans défaut ou au contraire aux veines les plus exquises, agate, cristal de Baccarat. La façon polie, lissée, jusqu’au miroir, encore une des bonnes manières de l’artisan sans reproche. En fait, on s’en doute, forme, matière et façon sont inséparables et se conditionnent réciproquement. La forme exige sa matière et la façon de la travailler, comme aussi bien la matière impose la forme qui lui convient. Gilioli ne sépare pas les formes sorties de ses mains des formes que nous propose la nature. A sa façon, il dit : « La plus belle sculpture, pour moi, c’est le ciel ». De certaines de ses sculptures, il dit que ce n’est pas lui qui les a faites, qu’elles lui ont été « données » voulant indiquer qu’un galet, un rocher, lui ont proposé des rapports de formes qui correspondent à ce qu’il ressent comme un idéal.

Les œuvres d’Emile Gilioli sont exposées dans le monde entier: Musée National d’Art Moderne de Paris, Tate Gallery de Londres, Musée de Sculpture de Plain Air de Middelheim d’Anvers, Museo de Arte Moderna de Sao-Paulo, Museum of Modern Art de New York, Musée Bezabel de Jérusalem, Musée de Peinture et de Sculpture de Grenoble, Musée des Beaux-Arts d’Ostende, Musée National d’Histoire et d’Art de Luxembourg, Centre Georges-Pompidou à Paris, Musée de Sculpture de la Ville de Paris, Museo de Bellas Artes de Caracas, Musée des Beaux-Arts de Dunkerque, Musée des Beaux-Arts de Rouen, Museo dei Bozzetti Pietrasanta, Kunsthaus de Zurich, Musée Fabre Montpellier.

———————————————————————————

An Italian born in Paris, Emile Gilioli was one of the pre-eminent sculptors of the post-war Ecole de Paris. “Sculpture for me is about the rhythm of space and time. Space is an essential absence.”  For Gilioli, the challenge of sculpture was a fusion of art and architecture and the choice of material was paramount in determining the form of the object. During his career he sculpted in a wide range of materials, including granite, marble, crystal, onyx, agate, lapis-lazuli, porphyry, alabaster and cement.

In 1946 after the Liberation he held his first exhibition in Paris at Galerie Breteau which lead to him being taken on by the high profile Galerie Denise René. Here he associated with leading avant-garde artists Poliakoff, Vasarely, Deyrolle and Dewasne, and also exhibited with Arp, Giacometti, Laurens and Picasso, and became friends with Brancusi. In 1949 he participated in a major exhibition at Galerie Colette Allendy with Deyrolle, Hartung, Soulages and Schneider which firmly established Gilioli at the forefront of the avant-garde. In 1951 he became vice-president of the prominent abstract group Espace, initiated by André Bloch, Fernand Léger and Le Corbusier. 

Gilioli’s work is represented in numerous major museum collections around the world, most notably the Tate Modern, London; Musée National d’Art Moderne, Paris; Museum of Modern Art, New York; Hirshorn Museum, New York; Art Institute of Chicago; Carnegie Institute, Pittsburgh; Museu de Arte Moderna, Sao Paulo; Museum of Miami; Elsingfors Kunsthall, Helsinki; Museum of Modern Art, Stockholm; Royal Museum, Belgium.

 

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