Modes ChatonGeorges Djo-Bourgeoisc1925 Paris
1Modes Chaton 17.75 x 15 in. Unframed$325.00
2Modes Chaton 17.75 x 15 in. Framed$475.00
3Modes Chaton 28.5 x 24 in. Unframed$650.00
4Modes Chaton 28.5 x 24 in. Framed$925.00
Dimensions are print size in inches.
- Period image of historical significance
- High-presence 7-color production
- 100% cotton archival fine art paper
- Beautifully crafted hand finished wood Art Deco styled frames with non-glare acrylic picture glass
- Allow 1-2 weeks for framing
This Art Deco print featuring a rendering of a minimalist Paris facade by Georges Djo-Bourgeois exhibits the modernist, cubist ideals of unadorned functionality that Djo Bourgeois strove for. It exhibits elegant line work, spacial harmony and a bold, simple use of color.
Djo-Bourgeois (1898-1937), champion of a sleek and functional approach to design, created furniture, interiors and buildings in the early 20th Century.
He studied at the more modern Ecole Speciale d'Architecture from 1914 to 1922 and dedicated himself to creating furniture and interiors. He entered and exhibited at the Salon d'Automne and the Salon des Artistes Decorators. The following year he joined the creative workshop Studium Louvre, attached to the Grands Magasins du Louvre. He designed numerous sets of wooden furniture up until 1925.
Seeking more independence he founded his own workshop dedicated to the creation of furniture and architectural designs that are modern, simple in shape, functional and undecorated. He is invited to participate in 1924 in designing one of the most modern shipyards in France. He then desiged several rooms including the dining room in the villa of the Vicomte Charles de Noailles, built by architect Rob Mallet-Stevens, as well as designs for several other notable villas and apartments. By 1926, he is one of the major deigners of metal furniture and his designs are offered for sale by the renowned Dutch firm METZ & CO. His table with glass top on circular cylinder mirror and base is selected by the Maharajah of Indore to decorate his palace in India. In 1928, alongside Rene Herbst and Charlotte Perriand, he is in the forefront of the avant-garde at exhibitions. Although close to the French modern movement, the Union des Artistes Modernes, he does not officially join the group because of a dispute with some of its members. At the 1937 exhibition his latest creations are exhibited in the Pavilion Artist Decorators, the same year that he died following a long illness.