The gallery Anne-Sophie Duval is pleased to participate in the exhibition “Pierre Chareau, Modern Architecture and Design“, taking place from 4 November 2016 to 26 March 2017 at the Jewish Museum in New-York for the loan of two pieces.
Pierre Chareau and Jean Lurçat, chauffeuse, c. 1926
Pierre Chareau, daybed, c. 1923
Anne-Sophie Duval gallery welcole you to discover a selection of works by
Pierre et Véra SZÉKELY
on display 5 rue Bonaparte
Pierre Székely, “Do”, 1977, print
The gallery Anne-Sophie Duval is pleased to participate in the exhibition “Jacques Doucet – Yves Saint-Laurent, vivre pour l’art“, taking place from 15 October 2015 to 14 February 2016 at the Yves Saint-Laurent foundation for the loan of three pieces.
Etienne Cournault, Le coup de dé, c. 1930
Joseph Czaki, Colombe au rameau, c. 1928
Cournault, Legrain, Desprès, Table, c. 1928
This exceptional lamp by Desny is actually exhibited at the gallery.
Rare and high quality piece, this lamp is a perfect example of the ingenuity and visionary thinking of its french creator, Clément Nauny, also known as Desny. Spearhead of modernism, he opened a store in 1927 in Paris where he exhibited his very original creations (lighting and silversmithery). Using chrome metal and futuristic shapes, his work is a prefiguration of design.
This exceptionnal six meters long banketing table sets-up at the”Bon Marché”.
Created for the newspaper « La Loire Républicaine » in Saint-Etienne (South of France), and rediscovered by the gallery Anne-Sophie Duval, the table now takes place at the “Bon Marché” (an emblematic french shop). This impressive structure is a blend of metal beam and brass which support three Carrara marble plates. Its outline combines modernist rigour and neoclassicism inspiration.
A lost Child – Etienne Cournault
Acquisition of this artwork by the Musée d’Art Moderne de la Ville de Paris to the gallery in 2013.
Glass painting with mirror reserve
Steel base designed by Jean Prouvé
Signed and dated at bottom right
In a letter dated 1931, Cournault wrote about his interest for stains, which he observed on city walls and recorded in his sketchbooks – “something one brings back home and whose form and colour one uses like a mysterious element”.