Charlotte Perriand Wins

By the 20th century, major institutional obstacles began to disappear, allowing women to formally train in art, architecture and design. Women enrolled in these schools in droves. At the same time that Modernism was developing, it was also becoming marginalized. As critics and scholars began to define Modernism, the work of women designers was left off the pages.

Women created great original works of quality design, and in significant amounts. They acquired professional skills which they exhibited in public venues, and began to relentlessly pursue active careers. They created a diverse range of style and ground-breaking designs, and many of their names still in the 21st century are obscured by the shadows of men.

In February, a Paris court issued a decision in favor of the daughter of Charlotte Perriand. Perriand wasn't given proper authorship of three of her designs; instead, the works were attributed to her sometime male collaborator Jean Prouvé. Pernette Martin-Barsac, Perriand's daughter, fought against the Sonnabend Gallery for misattribution and won. She had been fighting this for a decade (or more) even when the Pompidou Center hosted a retrospective of Perriand's work in 2005. When these three designs went to auction, Prouvé was credited as the designer.

Perriand dealt with this during her lifetime. In the 1950s the Tunisia bookshelves was launched on the market under the label of "Jean Prouvé Studios."

Tunisian Bookshelf, pic from MoMa

Information gets regurgitated over and over, with assumption and bias. Lately we have come to care more about the look of a design over who designed it and how it fits in. We have a unique opportunity to study the range of activity and information about women designers.

Perriand's floor plan for a student room in the dormitory building, Maison de la Tunisie,
at the Cité Internationale Universitaire de Paris

Why aren't we doing this?

Student Room, Maison de la Tunisie, 1952
Perriand was put in charge of a group that was to design and furnish 40 student rooms. 

Both images above from Mary McLeod's (editor) Charlotte Perriand: An Art of Living, 2003.

Jean-Michel Frank, Hermès and New York

"OHMYGAWD!", I hit a high note. "What now?" my grumpy husband complained.

"I have goose bumps. Furniture items by the legendary designer Jean Michel-Frank are being reissued here in the United States."

My husband shoots me an incredulous look momentarily pulling his head away from a basketball game on tv. clickety-clack went the heels of my little shoes across the stained Brazilian wood plank floors. I leaned my head against the window and stared out into the empty street.

Frank's harmonious forms, simple lines, exotic veneers and soft palette embody great design. His works have been widely copied but rarely matched. Each item he created is understated, but resonates immense power and depth.

In 1924 Frank collaborated with Hermès on a collection of furniture. His restrained club chairs and sofas have been endlessly copied since that time -- they are stark, exquisitely proportioned forms wrapped in the most luxurious finishes.

The short, slight, nervous, and intense, self-taught designer who walked on the balls of his feet spouting bits of poetry, and known to dress in drag to formal occasions was THE designer and decorator of the Parisian haute-monde of the 1930s and 40s.

In spite of his immense talent and success, his life was tragic and full of heart break. He died at the young age of 46; what other miracles would we have had from him had he lived longer?


On March 8, 1941 Frank’s body was found lifeless on the sidewalk at Third Avenue and 63rd Street. A cousin had to identify him. The New York Times found fit to only run a 100-word obituary about the greatest furniture designer of his generation. His name from then on was consigned to oblivion.

The design cognoscenti in the 1970s quietly appreciated "le style Frank" and thankfully, many of us will too. Those distinctive cubic designs with leather and wood veneers have been re-issued and will soon again be available in the New York Hermès store in April.

Vivre Jean-Michel Frank!

(top image from T Magazine, photo of JMF scanned from Pierre-Emmanuel Martin-Vivier's Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period, and remaining two images from Luxist.)

Not Much

My apologies, the school semester has begun (I teach) and seems like everything is due right now. I do have a Marie Antoinette part III post to present, which will be short, but I must carve out some time for it. However, in the meantime, if you are interested in reading a little about the modern American furniture design market here is something. CLICK

As the end of the month is closing in, I hope everyone is having a tolerable August!

Antiques Market in 2008

Over the past few decades the marketplace for antiques and decorative arts has significantly changed. The 1980s saw a huge price increase for antiques, followed by a downturn in the 1990s. Around 2000, the marketplace continued to slow which drove a number of mid-level antique stores out of business.

Now in 2008, many auction houses, furniture dealers and consignment shops have closed their doors. It’s been bruited about by nervous dealers that antique furniture is going for a quarter of what it sold for just a year ago. Struggling dealers, as well as collectors, are busy liquidating their collections. What is going on?

After 36 years Red Baron’s Antiques will host its very last auction this weekend --
September 27 and 28, in Atlanta, Georgia.

The uncertainty of the economic situation in the US is certainly to blame. Another factor is the huge increase in merchandise readily available to collectors via the internet, which has threatened and continues to threaten the livelihood of the traditional middleman. Who needs an informed agent or an advisor when sellers are able to directly deal with customers all over the world?

In the past, increased competition between buyers for the shrinking market of available high-end pieces has driven the price of these items way up. However, this year even the top auctioneers have experienced disappointing results; competition for the few remaining quality pieces has become fierce. In the meantime, prices at the moderate level of the antiques market have remained static and not moving. Until recently a few bold collectors were still willing to pay relatively high prices for hard-to-find items. Eighteenth century English pieces in exceptional condition are still thriving. Whatever, the market continues to soften.

In April Sotheby’s estimated this rare Irish mahogany card table c. 1750 to reach anywhere between $40,000 - $60,000. The hammer price (including buyer’s premium was only $37,000.)

Compounding all this is the fact that the world of antiques and decorative arts has been undergoing a fundamental change during this decade. People don’t want the traditional stuff anymore. Contemporary is rapidly becoming the most sought-after. Open any interior design magazine and you’ll find an eclectic array of mid-century modern pieces. 1stdibs has become the important internet venue which showcases almost exclusively 20th century pieces. Regional art fairs have accelerated the interest in contemporary and decorative arts.

Eccentric Italian designer Carlo Mollino’s oak and glass table from 1949 sold for $3.8 million at Christie's New York in 2005. It was was estimated to fetch a mere $150,000 to $200,000.

A shaky economy, now downright perilous, is not good for the auction houses and retail dealers. Everyone, understandably, seems to be walking on eggshells. Despite these fluctuations, quality pieces remain quality, seemingly in defiance of the vicissitudes of the market. If there is one constant in this madhouse it’s that really good quality pieces manage to maintain their inherent value. Markets may be cyclical, but top-quality antique furniture will always retain its special value.