VERDURIN SCREEN CHAIR BY ANTHONY GUERRÉE

VERDURIN SCREEN CHAIR
BY ANTHONY GUERRÉE

LIMITED EDITION 8
SIGNED, SERIAL NUMBER AND CERTIFICATE OF AUTHENTICITY

STRUCTURE IN SOLID CEDAR
HAMMERED BRASS BALLS WITH BRONZE PATINA

H 59″  W 67.7″  D 19.7″  SH 17.7″

CUSTOM SIZE ON REQUEST

MADE IN FRANCE BY ATELIERS RACINES

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BIOGRAPHY

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ANTHONY GUERRÉE

AG

Born Normandy, France, 1987

a French furniture Designer, Guerrée’s design vocabulary combines traditional craft with innovative vision, and draws inspiration from travels, personal interactions, and literary encounters. His first collection, “The chairs of lost time,” inspired by the characters of Marcel Proust, was exhibited in 2021 by Atelier Jespers in Paris. Guerrée’s process carefully considers the societal implications of furniture, linking social construct with decorative arts: “The Line, the comfort, The Proportions of a chair not only suggest a way of sitting, But also a range of attitudes and possible scenarios.”

Guerrée graduated from Ecole Boulle and worked as a designer for such firms as Andree Putman and Delcourt Collection before founding his own studio in 2020

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VERDURIN SCREEN CHAIR

Anthony Guerrée read In search of lost time in 2013, a century after the publication of Marcel Proust’s first volume, and he was touched by the timeless and universal beauty of this literary masterpiece. Proust’s gallery of colorful characters is an inexhaustible source of inspiration for many artists. Each of the book’s characters possesses a singular way of being in the world, of behaving in society

Anthony Guerrée wondered whether he could design chairs that, like fictional characters, had personality traits and could serve as allegories or incarnations. Could he give life, as it were, to his chairs? By proposing a physical position, a seat can also convey a social position. The line, the comfort, the proportions of a chair not only suggest a way of sitting, but also a range of attitudes and possible scenarios. It is with these concepts that Anthony Guerrée explores the relationship between applied art and literature. He is dedicating a chair to each of his favorite Proustian characters starting with Robert de Saint Loup and Baron de Charlus

The screen appeared in China with the Zhou dynasty before conquering the Western interiors. Intended to trace the boundaries of the intimate, to conceal it while suggesting it. Over time, the screen became a real piece of furniture, particularly in the 1930s thanks to the creations of Eileen Gray and Louis Barillet. In a funny passage from Swann’s way, Marcel Proust highlights the sensual relationship between Madame Verdurin and her furniture. One day Sidonie Verdurin invites Swann to “paw” the small bronzes of her Beauvais armchair: 

In reference to this famous passage from In the Search of Lost Time, the «Verdurin» folding screen chair is decorated with hammered bronze spheres inviting to touch

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