Eileen Gray

Galerie Jean Désert, Paris
Eileen Gray, Rue Bonaparte, Paris
Sotheby's Parke Bernet, Monte Carlo, Collection Eileen Gray: Mobilier, Objets et Projets de sa Création, May 25, 1980, lots 250-251
Mr. Robin Symes, New York
Sotheby's New York, Important 20th Century Furniture: A Philip Johnson Townhouse, May 6, 1989, lots 92-93

Jean Badovici, "Eileen Gray: Meubelen en Interieurs," Wendingen, series 6, no. 6l, 1924, p. 7
Peter Adam, Eileen Gray: Architect, Designer, New York, 1987, p. 381, no. 5
Philippe Garner, Eileen Gray, Cologne, 2006, pp. 52 and 76
Eileen Gray, exh. cat., Centre Pompidou, Paris, 2013, p. 68

Timeless Modernism: Two Masterpieces in Lacquer by Eileen Gray

Two of the most sleek and impressive pieces to have originated from Eileen Gray’s personal collection, the present two screens, designed and executed circa 1922-1925, are the extraordinary physical manifestation of the artist’s mastery of lacquer on a large scale. Their highly textural and painterly surface elevates them to the status of works of art in and of themselves, seamlessly combining function and sculptural presence at a time where Gray’s style transitioned towards modernist abstraction.

Up to that point, Gray’s lacquered screens were imbued with figurative and lyrical sensibility, depicting human figures and allegorical narratives. While the present screens offer no tangible sign of figuration, the subtle balance of vertical lines with soft curves at the bottom of the piece complement the flawless application of a rich black lacquer, creating a timeless and harmonious ensemble. Here, the lacquered surface not only suppresses references to a specific narrative but treats them as an abstract canvas.

The screens’ decidedly Modernist character is only amplified through the designer’s full mastery and understanding of lacquer. Eileen Gray’s use of the complex medium is the result of much research and practice over the course of several years. She is one of few European artists from this generation to successfully master Japanese lacquer techniques and to grasp it with such artistic virtuosity. In 1907, following an apprenticeship with Arts & Crafts designer William Morris and lacquer artisan D. Charles, Eileen Gray permanently settled in Paris where she met Japanese lacquerer Seizo Sugawara.

Sugawara’s mentorship prompted Gray to develop her own network of Japanese lacquerers based in Paris and to keep thorough notebooks solely devoted to the technique. Together, Gray and Sugawara opened a workshop rue Guénégaud where they showcased the Irish designer’s original lacquer creations, which started to flourish around 1913-1914. They became influential figures of the experimental decorative arts scene in Paris.

Created approximately a decade later, the present screens are undeniably linked to a particularly experimental period of Gray’s career. In 1922, in addition to her workshop rue Guénégaud, she opened a gallery rue du Faubourg-St. Honoré to show her designs in a more commercial and refined setting. Gray called it “Galerie Jean Désert,” a fictitious name whose origin is unknown. The gallery space showcased Eileen Gray’s tremendous versatility as a designer through the presentation of various forms and designs: lacquer screens, furniture, lamps, daybeds, mirrors, and even hand-woven carpets. The two screens were said to have been conceived and used to conceal the gallery staircase. Gray eventually closed the gallery permanently in 1930 to turn to architecture. The present screens subsequently found themselves part of her personal collection, where they remained until her passing in 1976.