Pierre Jeanneret PJ-SI-10-A Fireside chair / Authentic Mid-Century Modern

All massive wood parts are authentic. They are done in Indian teak. Rich in texture, the wood is vivid. As it is in its original condition, solid teak is untreated and carries the so-called rotten wood quality. The width of the legs variates in the front and in the back. The front ones are slightly taller than the back ones, which position the seat in an angular position. This provides better support and appears relaxed.

The surfaces of the seats are done in cane. Contrasting the massive wooden parts, which frame it nicely, cane expresses a lightness with its transparency. The geometrical patterns of the canework create a charming shadowscape. We do the caning like it was done in Chandigarh. We use durable and thicker cane.

I think the piece blends well with many interior styles. It can support pure, modern aesthetics by giving them a warmer character with its natural materials and warm colours. As a chair with a specific expression, it becomes a collector’s addition to each space. It has a quality of a museum exponate and a sculptural object, rather than a piece of furniture.

P! Galerie’s selection is mainly focused on rare French mid-century modern design artefacts by Pierre Jeanneret, Jean Prouvé, Le Corbusier, and Charlotte Perriand. Artefacts from our carefully curated collection are handpicked, and all traces and important indicators of authenticity are evaluated professionally. We try to preserve as much of patina as possible during the process of restoration, as it defines these historic pieces. Each object comes with a certificate of authenticity, offering you the opportunity to own a valuable artefact originating from a UNESCO-designated World Heritage Site. Not only do we cooperate with museums and offer auction houses our services and expert opinion, we also look forward to welcoming you as a private collector and connoisseur.

Literature: Eric Touchaleaume and Gerald Moreau, ‘Le Corbusier, Pierre Jeanneret: The Indian Adventure, Design-Art-Architecture’ (Paris: Gourcuff Gradenigo, 2011), 333, 558.