Art Study Center

Decorative Art and Design: Online Posts

Greenwich June 9th, 2018

Follow us on Instagram @thebrantfoundation #BrantDesign for decorative art and design updates!

Peter Brant, Founder of The Brant Foundation, has been an avid collector of art and design since the mid-1960’s.  This life-long passion has resulted in a collection of important works of by contemporary art masters, as well as significant decorative art and design objects.  Through featured online posts, The Brant Foundation broadens access to these historically noteworthy objects, furthering our mission to promote arts education by making resources available to the public.

Scroll down to view the archive of decorative art and design posts.

 

  • Installation view

Remembering Henry's Show

Furniture: Arabesque Table, Carlo Molino (ca. 1949)
Pair of Standard Chairs, Jean Prouve (ca. 1934)
Brass Electrolier, W.A.S Benson (ca. 1900)
Refectory (camping) table with Streamer Legs, Jean Prouve (ca. 1939)
Pair of Ebony Boxes, Alexander Noll (ca. 1948-1950)
“Ours Polare” Two Armchairs and Sofa, Jean Royere (ca. 1946)
Liane Floor Lamp, Jean Royere (ca. 1950’s)
Elephanteaux Chair, Jean Royere (ca. 1939)
Table Basse Flaque, Jean Royere (ca. 1950’s)

Marc Newson's Lockheed Lounge

This post features Marc Newson’s (b. 1963) iconic Lockheed Lounge.  This remarkable object simultaneously encapsulates fine art and industrial design, reflecting Newson’s level of precision and unique creativity in the 1980’s furniture design movements.  The result is an unusual, other-worldly structure revered for its fusion of materials, design, and form.

Marc Newson, Lockheed Lounge (1988)

Christopher Wool, Fuckem (1992)

Photography: Tom Powel Imaging, Inc.

  • Decorative Art and Design

Jean Prouvé, Carlo Mollino, Line Vautrin

This striking aluminum porthole door was designed by renowned metal worker and self-taught architect Jean Prouvé circa 1949 – a signature element in his post-WWII mass-production housing concept. Flanking the doorway, Carlo Mollino’s chairs embody functionality and the female form, while epitomizing Mollino’s style: the union of the romantic and the rational. The extraordinary “Folie” mirror, created by jewelry and decorative object designer Line Vautrin, presents a sun with twelve irregular flames haphazardly extending outward, one in particular supporting a tiny, witch mirrored glass “moon.” The asymmetrical bordure inside the mirror mimics the Prouvé portholes, while the black talosel flames balance the black Mollino chair to the left.

Jean Prouvé, Door (1949)

Carlo Mollino, Important side chair (1959) painted beech, painted brass

Carlo Mollino, “Tipo B” side chair (1950) Resinflex, brass, tibular brass.

Line Vautrin, “Folie” mirror (circa 1958)

Elizabeth Peyton, “John Lennon 1965 (Hotel),” 1995

Photography: Sean Keenan

In celebration of Father’s Day, this design post highlights the formal dining room which was originally designed with the assistance of Jed Johnson in the early 1980’s.

The beautiful American sideboard from the 1880’s was a housewarming gift given to Peter Brant by his father Murray Brant. The sideboard and accompanying dining set was chosen by Peter and had belonged to Robert W. de Forest, the fifth president of The Metropolitan Museum of Art. De Forest and his wife Emily, were great collectors of Americana and conceived the idea to build a wing at The Met that would house a permanent collection of American decorative objects. The Museum’s American Wing opened to the public in 1924.

18th Century Chinese Wallpaper: This wallpaper inspired Karen Kilimnik’s chinoiserie installation for her 2012 exhibition at The Brant Foundation. 

Various silver horse racing trophies

“Red Elvis” (1962) by Andy Warhol

Photography: Tom Powel Imaging, Inc.

To celebrate the beginning of summer, our first post features objects collected by Stephanie and Peter Brant for their seaside home.

Using his welding, metallurgy, and jewelry design skills, designer-craftsman Paul Evans (1931-1987) established a reputation as a creative designer of unique sculpted metal furniture. Constantly experimenting with new materials, technologies, and designs, his shop operated much like an industrial laboratory, and his highly innovative experimental approaches to metal have attracted an international following, especially over the past decade.

Read More:
Paul Evans: Crossing Boundaries and Crafting Modernism at Michener Art Museum

Paul Evans at Todd Merrill Studio


George Nakashima was born in Spokane, Washington in 1905 and grew up in the forests of the Olympic Peninsula. He received a Bachelor’s Degree in architecture at the University of Washington and a Master’s from MIT in 1930, as well as the Prix Fontainebleau from L’Ecole Americaine des Beaux Arts in France in 1928. After spending some time in Paris, he traveled around the world and secured a job at the Antonin Raymond office in Tokyo which sent him to Pondicherry, India, where he was the onsite architect for the first reinforced concrete building in that country and became one of the first disciples of Sri Aurobindo.

Read More:

George Nakashima Official Website

George Nakashima Woodworker Complex – National Park Site

LANDSCAPE Episode Woodworkers George and Mira Nakashima Segment – Craft in America


Ettore Sottsass was born in Austria in 1917 and moved with his family to Turin, Italy, where he received his degree in architecture from the Politecnico di Torino in 1939. After serving in World War II, Sottsass returned to Italy, and collaborated with his father who was also an architect, working on remodeling destroyed buildings in the aftermath of the war. In 1947 he opened his own architectural firm expanding into painting, photography, jewelry, furniture, sculpture, interior design and many other mediums. During his expansive career Sottsass traveled extensively and worked with the firms of George Nelson, Adriano Olivetti, and even created the Memphis Group which was active during the 1980’s. His prolific and diverse body of work made a significant impact on Italian and modern design and is still venerated by contemporary designers and architects around the world. His works can be seen in major institutions such as MoMa, The Metropolitan Museum of Art, London’s Design Museum, the Brooklyn Museum, Cooper Hewitt, the Smithsonian Design Museum, Vitra Design Museum, and the Stedelijk Museum in Amsterdam.

Read More:

Ettore Sottsass – Rebel and Poet: by the Vitra Design Museum

When I was a Very Small Boy: By Ettore Sottsass – Published by the Design Observer

Ettore Sottsass: The Cooper Hewitt

Ettore Sottsass: the Godfather of Italian Cool – The Guardian


Born in Paris in 1903, Charlotte Perriand is one of France’s most renowned architects and designers. In 1920 she enrolled in the Ecole de L’Union Centrale de Arts Decoratifs to study furniture design and graduated in 1925. Just two years later she began to work with Le Corbusier, a partnership that would last 10 years before leaving his firm in 1937. At the onset of World War II she entered a partnership with designer Jean Prouve, although this was cut short by the German occupation of Paris in 1940. At that time she set sail for Japan and Vietnam because she had been invited to advise the Japanese Ministry of Trade and Industry to develop Japanese designs for the western market. After the end of the war she returned to Paris to resume her work with Jean Prouve, and continued to design a number of interior spaces, hotels, ski resorts and other buildings with Le Corbusier and Fernand Leger. Her furniture, in particular her freeform works, are today recognized for their sculptural qualities and are currently on exhibit at Timothy Taylor in London alongside the sculptures of Jean DeBuffet and the paintings of Simone Hantai until March 29th, 2018.

Read More:

“Freeform” at Timothy Taylor

Charlotte Perriand Biography and Catalogue : Cassina s.P.a

Charlotte Perriand – by the Design Museum of London

Charlotte Perriand Obituary by the New York Times

Further Reading: McLeod, Mary. “Charlotte Perriand: Her First Decade as a Designer.” AA Files, No. 15, Summer 1987, p. 3-13. JSTOR,  https://www.jstor.org/stable/29543583