FRANÇOIS-XAVIER LALANNE | KL unique drawing board, 1964-1966

patinated metal, wood, glass leather and opaline ; with a stool

Collection Karl Lagerfeld, acquired directly from the artist
Collection Jacques Grange, Paris
Private collection, France
Private collection, Paris

"L'appartement d'un styliste", L'Oeil, March 1968, illustrated pp. 52-53
"Un styliste d'aujourd'hui aux sources du Design", L'Oeil, October 1969, illustrated pp. 53-54 
Claude Frégnac, "3 appartements de collectionneurs", Plaisir de France, Octobre 1970, p. 40
Décoration, Tradition et Renouveau, Collection Connaissance des Arts, Paris, 1973, illustrated p. 99
Les Lalanne, exhibition catalogue, Centre National d'Art et de Culture Georges Pompidou, Musée National d'Art Moderne, Paris, June 15 - July 13, 1975, mentionned p. 102 in the chronology
"Un jardin pour l'hiver", Maison & Jardin, March 1977, illustrated p. 84

Good overall condition, consistent with age and use. The metal structure presents with some scratches, scuffs, minute to small chips of paint, light wear to the paint overall and overall oxidation under the paint. Scattered paint stains on the surface. Some dents and bumps on the metal shade of the lamp. The metal bowl, the metal receptacle and the glass receptacle can be removed from the structure. They present with some surface scratches overall. The metal bowl presents with some dents and bumps. The metal receptacle with wear to the patina underneath the element holding it to the structure. The glass receptacle presnts with a few light surface scratches. The wooden top is in fair overall condition, consistent with use with multiple scratches and scuffs, visible on the catalogue illustration. Scattered paint stains. The leather top has been replaced under the supervision of Sotheby's and is in excellent condition. The opaline palette with a few scratches. The stool was not designed by François-Xavier Lalanne but was chosen by Karl Lagerfeld to be used with the desk. It presents with scratches and oxidation on the metal and chips of paint on the base of the seat. The leather seat is dried with a few small cracks and worn with a few scuffs.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present lot is to be compared with two other pieces executed at the same time : the YSL bar, commissioned by Yves Saint-Laurent and Pierre Bergé in 1965 and another bar, commissioned by Mr and Mrs Mayersdorff in 1966.
These pieces, which presents with many similarities, are special orders.

This lot is sold with a certificate by Mrs Claude Lalanne.
An incredible discovery, the present lot was only known by a select few. Commissioned by Karl Lagerfeld, it was installed in his apartment on the rue de l'Université in Paris, where it was placed alongside his collection of Art Deco works. The table is dated 64 and was delivered in 1966, the same year the artist designed his Serpent cushion, remote-controlled Tortoise and his famous Ostriches bar.
This piece, envisioned and conceived with the sole aim of satisfying its famous sponsor, engages in a discourse between the fashion designer and the sculptor. Karl Lagerfeld required a movable tray, and François-Xavier Lalanne responded by conceiving a tray with an adjustable incline. The artist went further and designed containers in glass and metal for brushes and pencils and a wide surface to prepare gouaches and watercolours in opaline enshrined in subtle brown leather. He included a light source so the designer could work at night and most importantly he integrated a sphere in which Lagerfeld could store his equipment.

In the mid-1970's, Karl Lagerfeld relinquished the table to another enlightened collector: Jacques Grange. The famous decorator installed his new acquisition under the large glass roof in his apartment in the 6th arrondissement, where he used it continually until the 1980's.

With this piece, François-Xavier Lalanne affirms that a true sculpture, and more importantly a work of art, can also possess functional details. Here he displays his desire to return to sculpture, too long sacralised according to him, with a more familiar dimension and a functional use.
Today we observe it and also use it, as Karl Lagerfeld and Jacques Grange did.

"François-Xavier Lalanne's drawing table has provided me with beautiful inspirations and pleasures in my early years. I hope it will provide the same thing to its new acquirer. "
Jacques Grange