The work of Jean Prouvé is deeply respected by those of us intrigued by his sense of aesthetics and approach to fabrication. Like other artists of his generation, his work reflects a response to industrial shifts that were taking place in the world. In Prouvé’s case, his method of production, partly constrained by the material supply of the war years, yielded new and thoroughly modern expressions. It is no surprise that the deep reservoir of aesthetic integration in France, long a part of its cultural fabric, had a bearing on modernism specifically in Prouvé’s working method and the objects themselves. 

 

As a collector, the Fauteuil Visiteur, or Visitor Armchair, particularly design number 352, has always been an intriguing expression of Prouvé’s work. The form, with its combination of galvanized metal and wood, its intended use for export, and its rarity, is one that is both elegant and rich. This project originated from a desire to make two chairs inspired by Prouvé's design. While there are many clues in Prouvé’s record, no schematic is entirely sufficient for production; and, while the chair is technically complex, the process that yielded these chairs required discovery through making, much as it was with Prouvé. 

 

I’m proud to offer this edition of 20 chairs, a project which began in 2018. Each uses bog oak for the frames and armrests. This scarce material, thousands of years old, is recovered from wetland areas in Europe and possesses a deep character in natural shades of caramel brown to black. During the time in which the prototypes were created, the galvanized sheet material with its crystallized pattern known as "spangling" practically disappeared from the market due to changes in industrial production. It was a lengthy effort to track down remnants of this patterned material. Each chair is individual and numbered accordingly. It’s my hope these chairs find their way to fellow admirers similarly intrigued by Prouvé’s singular accomplishment.