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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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Signed brass sculpture by Santa (Claude Santarelli), France, circa 1975, H 50 cm

From 1942 to 1950 studied sculpture at the School of Fine Arts in Paris. Called as a stylist at the Verrerie d’Arques, he moved to Saint-Omer in 1951. After 1958, he adopted abstraction. First by assembling and accumulating industrial waste: tubes, bars, angles, etc… Then by working brass, a more malleable material than iron.

1965 participates in the first Symposium of Quebec.

1970 obtains the André Susse Prize for Young Sculpture.

1972 makes his first jewels with the Parisian jeweler Gennari.

Tournan-en-Brie baptizes with his name a school and a roundabout, adorned with one of his sculptures.

His works are currently sold at auctions in big sales.

2 retrospectives are organized in 1973 by the Sandelain Hotel Museum in Saint-Omer and in 1981 by the Musée de la Galerie in the former post office in Calais.

 

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Ceramic and iron table by Roger Capron, France, circa 1950, L 140 W 29 H 39,5 cm

“KI” armchairs, by Maurice Calka, France, circa 1960, H 66 W 67 D 70 cm

Kinetic lamp by Superstudio, Italy, circa 1970, H 196 W 45 cm

“Spray” iron Sculpture by Harry Bertoia, circa 1960, H 85 Dia 140 cm

Dear all,

Galerie XXe Siècle will be closed from the 1st until the

31st of August.

During this period, the gallery will open only by appointment.

Wishing you a wonderful summer!

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A mahogany bridge set composed of a table and 4 “Ecusson” cane armchairs. Jean Royère, circa 1950.

Jean Royère was commissioned by former Miss Lebanon, Leila Zoghbi Turki to decorate her Beirut interior. This apartment was one of high profile projects Royère executed in Lebanon.

He is considered today as one of the most pre-eminent decorators of the twentieth century.

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A mahogany dining set composed of an extendable table, 10 chairs and a console. Jean Royère, circa 1950.

Royère was commissioned by former Miss Lebanon, Leila Zoghbi Turki to decorate her Beirut interior. This apartment was one of high profile projects Royère executed in Lebanon.

Jean Royère is considered today as one of the most pre-eminent decorators of the twentieth century.

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Ceramic vase by Mado Jolain (1921-   ), Circa 1950, France, Signed, H 23 cm x L 31 cm x W 16 cm

 Mado Jolain is considered as one of the most important figures of the ceramic scene of the 1950’s, her works are exhibited in the Musée des Arts Décoratifs in Paris.

Over a period of 17 years, she developed just that economy of means which prevents pottery from becoming dated with the passing of time.

She moved on from pottery for domestic use to work in osmosis with the elements – air, light and nature – yet without erasing the dimension of the artifact.

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Lithograph by Hans Hartung, 1973, France, Signed, HC, H 107 cm L 135 cm

Born into an artistic family, he studied at the Fine Arts academy of Dresden. In 1926, he saw for the first time modern French and Spanish works, which made him move to Paris, where he met artists such as Kandinsky,  Mondrian,  Miró, and Calder.

In 1947 he had his first solo exhibition in Paris. By the late 1950s he had achieved recognition for his gestural paintings, which were nearly monochromatic and characterized by long rhythmical brushstrokes or scratches. His work took on a more sculptural quality in the 1960s as he began to scratch lines into blocks of color in his paintings.

Awarded the Guggenheim prize (1956), and the International Prize for Painting at the Venice Biennale (1960). He continued to paint and exhibit his work internationally until his death in 1989. He died as one of the most important painters of the European Informel.

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Biomorphic ceramic sculpture by Juliette Jenkell, circa 1950, France  W32 cm H 21 cm

“Biomorphic Abstraction” describes the use of rounded abstract forms based on those found in nature. Also referred to as Organic Abstraction, this type of art was featured in the work of many different artists, such as Kandinsky, Brancusi, and artists of the Art Nouveau movement. It is also applied to work by Surrealists like ArpMiro as well as the British sculptors Barbara Hepworth and Henry Moore. Found in abstract painting, abstract sculpture and furniture design, the style flourished during the 1930s-40s.

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