Objets Bruts
Objets Bruts
Objets Bruts
a selection of
rare masterpieces
www.p-galerie.com
zurich, switzerland
[email protected]
+41 44 400 40 11
MC-CARPET
Berber, Moroccan
between 1930- 1960
Hand knotted wool
Big slings, 93cm x 132cm
PJ-SI-24-A PJ-SI-55-A
Pierre Jeanneret Pierre Jeanneret
1955-1956 ca. 1960
Square stool Low stool
Solid teak, cane Solid teak
Residential buildings, Residential buildings,
Chandigarh Chandigarh
PJ-SI-57-A PJ-SI-58-A
Pierre Jeanneret Pierre Jeanneret
ca. 1960 ca. 1960
Low stool High stool
Solid teak, iron Solid teak, iron
Science Department of Panjab College of Architecture,
University Chandigarh
CP-BERGER STOOL
Charlotte Perriand Le Corbusier
ca. 1947, for Galerie Steph Simon ca. 1953-1954
Stool with 3 legs Stool with three legs
Elm tree Solid teak, enameled steel
The l’Equipement de la Project in
Maison series Ahmedabad
PJ-SI-22-A PJ-SI-21-A
Pierre Jeanneret Pierre Jeanneret
1965-1966 1965-1966
Round stool with wood seat Round cane stool
Solid teak Solid teak, cane
Panjab University, and “Science Panjab University and “Science
Block", Sector 14, Chandigarh Block”, Sector 14, Chandigarh
LC-14 PJ-SI-68-A
PJ-SI-55-A
Le Corbusier Pierre Jeanneret
ca. 1959 1955-1956
年頃 1960
Box stool Rare
low stool
sawer stool
Solid teak Solid rosewood
teak
Designed for Maison de Brésil Sawing
Residential
workshop,
buildings,
University
Version for Chandigarh buldings,
ChandigarhChandigarh
PJ-SI-40-B PJ-SI-34-A
Pierre Jeanneret Pierre Jeanneret
1955-1956 1955-1956
Low stool Cane stool with compass-legs
Solid teak, fabric Solid teak, cane
Residential buildings, Residential buildings,
Chandigarh Chandigarh
PJ-SI-33-C PJ-SI-33-E
Pierre Jeanneret Pierre Jeanneret
1955-1956 1955-1956
Bench without crossbar Bench with compass-legs
Solid teak, cane Teak
M.L.A. Flats Building, M.L.A Hostel
Chandigarh and flats
JP-SCAL-450 PJ-L-12-A
Jean Prouvé Pierre Jeanneret
1951, by Les Ateliers Jean Prouvé 1957-1958
Daybed Daybed with compass-legs
Steel, upholstery, cushion Solid teak, any upholstery
Cité Cansado, Residential building,
Mauritania Chandigarh.
PJ-L-05-A PJ-L-02-A
Pierre Jeanneret Pierre Jeanneret
ca. 1955-1956 ca. 1955-1956
Collapsible single bed Collapsible single bed with headrest
Solid teak, cotton stripes Solid teak, cane, cotton stripes
M.L.A Hostels/ flats, P.U. student M.L.A Hostels/ flats, P.U. student
hall and private residences hall and private residences
PJ-L-12-B
Pierre Jeanneret
ca. 1957-1958
Daybed
Solid teak, upholstery
Private homes,
Chandigarh
Design as clone of the soul Is that the key to understanding their objects and architecture?
An interview with Pedja Hadžimanović, the I believe so, but I would avoid the word ‘understanding’. Art is a
founder of P! Galerie medium that works with images and creates many different sense
impressions. Some appear illogical and are not always even clearly
understandable, so art acts more like an oracle. Through art we get a
vision of the meaning of eternity, life, death, freedom, grandeur, play-
fulness or banality. The abstract nature of art encourages us to pose
questions, which can be quite existential. Finally, we are concerned
less about the artwork itself and more about its ability to express
This interview explores the metaphysical character of Chandigarh’s emotions or spiritual ideas, which are more profound than rational
design rather than its historical context or facts. We are accustomed thought.
to employing our minds - our faculties of reason and intellect - so
we understand easily the meaning and value of a work of art; but art Can a simple table really contain such complexity?
is also metaphysical and emotional in nature and requires us to use Sure, otherwise it wouldn’t touch us. For example, the Conference
our unconscious as well, especially when a work is complex and pro- table1 by Jeanneret looks really banal, and the proportions are clumsy.
found. Art and design is about more than just decoration, it also acts But that roughness also expresses radicality, thus provoking essential
as a mirror of our own being. questions about being. This table represents purity, as if everything
superfluous has been erased. We become curious about the
What do you like about Chandigarh‘s design? existential or the unspoiled. Here art and design prompt us to reflect
I love Le Corbusier and his cousin Pierre Jeanneret, both of whom on ourselves and our inner being.
left us fantastic buildings. There has to be a reason we consider
them to be among the most important architects of the 20th century So you think the table shows some deeper truth?
(laughs). Most architectural theorists respect their work because it Yes, in a way, but not as you think. Everything in Pierre Jeanneret‘s
promoted the concept of modernity, but what makes their opus so design appears to be pragmatic and honest, but truth in art is always
rich are the existential questions it raises, which give their designs a an illusion. There is this fascinating contradiction in trying to appear
spiritual dimension. The philosopher Walter Benjamin highlighted true, which Jeanneret understood and played with. So, for the library
the ritual aspect of art, and the fact that it acts as a gateway to our table he designed a thick top, giving the impression of a single, solid
subconscious, with its fears, lusts and other emotions. This is where piece. But when we look under the top we can see only the border
art and design become intense. is thick and the rest is thin. Truth and illusion are both present and
show a specific world view.
But they designed for a modern society promoting science-based
rationalism. That contradicts your point of view. So it’s the complexity of the human being that you are trying to find
Of course, and Chandigarh is a city that aimed to create an ideal of a in these objects?
modern and rational way of living. But, to be honest, their buildings That is what touches me most. These pieces are tools to understand our-
were often complicated and not very functional (laughs). But they selves, which are eternal topics and always relevant. I don’t care about
were also able to invest their rational ideology with an irrational and zeitgeist and mannerist questions, I need depth to become stimulated.
metaphysical aspect. Le Corbusier once defined architecture as serv- However, I think that each person is touched by these objects in a
ing the beast, the heart and the spirit (servir à la bête, et au coeur, et different way: by their formal simplicity, informality, rough character,
à l’esprit). That is quite anti-rational, and emphasises the animalistic and rich patina, which bring each piece alive, and by the incredible
aspect of perception. Behind the rational facade there exists a deeper story of these beautiful pieces, discarded in the 1990s like trash. There
layer, one that touches our soul. are so many layers in his objects and you see a new one each time.
Why are these design pieces priced so high today?
The topic of value is completely different from that of quality. OK,
these objects are expensive because the most important 20th-century
duo of architects designed them. Each piece is unique, with different
dimensions, and quite different to the industrialised mass production
of someone like Eames, Mies van der Rohe or Kjaerholm. Now that
Chandigarh has finally become a World Heritage Site it is attracting
much more attention. Additionally, these pieces have an incredible
patina, which shows their history and this is quite rare for modern
furniture. In economic terms, value reflects how rare and important
an artwork is – issues that are essential for me as a gallery owner. But
if you want to approach these objects more deeply, you need to have
your own response and avoid preconceptions.
Don’t you think it’s perverse that this design for poor people has
become so expensive?
Le Corbusier and Pierre Jeanneret made designs for rich and poor in
the same way. They were looking for a language that suited humans
but not one for any specific social class.
Certificates:
This object has not been sold in galleries or shops; at that time,
they were quite simply utilitarian objects. So, there are no
official invoices. That means there is no proper provenance in
existence. Even if there were some later governmental auctions,
You are buying a valuable collector piece, so it's not all about shape. these receipts are not specific enough to be accepted as valuable
Authenticity is an essential component. So, it's worth choosing a provenance documents. Additionally, it is easy to fake these kinds
gallery with a wealth of experience and an impeccable reputation. of documents or to pay someone to forge them. For that reason
we focus on the patina. However, we will give you a Certificate
Authenticity: of Authenticity in which we mention the history of these objects
There are more and more completely fake or semi-authentic objects and their restoration. This document has a specific number and
offered. Some wooden parts are new, made with old wooden boards also remains in our register. If you resell that object, you can
or taken from other damaged, authentic Chandigarh objects. We add that certificate too. The new customer can ask us about the
don't do that. We want each wooden part to be originally from that original buyer.
Mid-Century piece. There are even some Chandigarh objects, which
are not in catalogues, but from Chandigarh. They are probably
authentic, but may not be designed by Pierre Jeanneret or Le
Corbusier. So, we don't offer these either. We take our business very
seriously. We only offer completely authentic items.
We love to focus on rare items and to take care of all the details. It
is not just our passion to deal and work just with historical pieces.
There is an ethical and juridical duty too. Pedja Hadzimanovic
studied architecture at the elite university ETH in Zurich. After
that, he wrote about the architecture of Le Corbusier and Pierre
Jeanneret. Then he started to delve deeper and deeper into the
topic of Chandigarh objects, learning more by going to Chandigarh
often. Today he still picks each object on his own, not sending any
employees to do that. That is quite unique. It is essential to see each
piece unrestored, so all traces and important indicators are visible
in still original condition. Old cracks, many layers of scratches, old
traces of worn lacquer, acid from human handling, which made
some parts more oxidised and darker, are important to see. So, we
can guarantee authenticity.