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.



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.


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.


Montage News BDF

Polyurethane table by Louis Durot
Wood and fabric Brazilian armchairs
Bronze table by Victor Roman


Waiting for you at Beirut Design Fair!

In collaboration with Chrystyna Salam


Seaside Arena, Hall 2, Booth B8 – 20 / 23 September 2018




15 bronze sunflowers by Hermine Anthoine, 2009, France, H 160 to 240 cm

Born in 1973 in Haute-Savoie, Hermine Anthoine advocates a certain dialogue between sculpture and her childhood universe as a farmer’s daughter. Having grown up in an environment witnessing permanent interaction between man and nature, she brings out elements from the rural world into the world of sculpture, thus creating a universe immersed in poetry and fantasy, delicacy and solemnity, humor and tragedy.


Dear friends, we will be closed from July 30 till August 31.

For any enquiries or requests, please contact us by email: info@xxesieclegalerie.com

We wish you a wonderful summer!


Polyurethane dining table. Louis Durot, France, circa 1970. L 267 H 77 W 111 cm.

Louis Durot is a French sculptor and chemical engineer born in Paris in 1939. His creations are always surprising and original thanks to his imagination and his technological expertise.

Durot designed during the 70s more than sixty sculptures representing mushrooms and carnivorous plants from an alien world.
In 1964, he met the artist Francois Arnal
, who was interested in Durots’ engineering expertise for his sculptures.

In 1966, Arnal introduced Durot to the artist Cesar, with the idea that Durot’s talents as a chemical engineer would be useful. He spent a year helping Cesar to master the techniques of working with polyurethane foam, searching for ways to make this fragile and ephemeral substance more stable and permanent, and more amenable to control. Cesars’ first works in this medium were flat, due to the difficulty of controlling the foam, but he went on to create his famous “expansions”.

In 1979, Durot presented his own creations in an exhibition in Paris during the Batimat Show. He has signed contracts with great companies such as American Colloïd and Zolpan. It permitted to focus his work on the technological development. 

A one man show of his work was held at the Contemporary Art Museum of China in Canton, among other worldwide exhibitions.

Our table echoes with Cesar’s expansions of the late 1960s.

Provenance: This table comes from the personal collection of the famous gallerists Cyril and Alan Grizot. (Voir Binoche J-C. et Godeau A., Le regard d’Alan, Paris 1991 – Rodriguez R. et Grizot A., Polyurethannes Louis Durot, Paris 2005).



Invitation Guy Bareff-GrosTexte

Luminous sculptures and totems

14 April – 12 May 2018

Opening reception Saturday 14th of April in the presence of the artist. From 11am to 20 pm.


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