Atelier L’œuf

Marc Gaillard, La mosaïque contemporaine: l'Œuf, centre d'études: Années 1960-1990, Paris, 2007, pp. 84-85 for related examples

Overall very good condition consistent with age and gentle use. Oxidation throughout the metal bases as seen in the printed and online catalogues. The table base has recently been replaced with another from the 1970's. A quote to remove the oxidation to the base can be produced upon request.
"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."

In the early 1960s, a group of architects and decorators from the group L'Œuf Center d'études, began to decorate the halls of buildings and public places with panels of mosaic. Coloured and synchronised they are heavily emblematic of Paris at that time. The translation of Oeuf – egg - reflects its perfect and complex form and fragile yet strong appearance.

The multi-disciplinary workshop was created by architects Jean Piantanida, Pierre Puccinelli, Roger Brusetti and the mosaicists Charles Gianferrari, Lazaretto, Pighin, Ferdinando Staffetta and Sergio Moruzzi, before being joined by other designers.

Throughout their career they designed a number of celebrated projects: the decoration of the Palais des Festivals in Cannes, those of the town hall of Roanne, the prefecture of Colmar and, in 1974, the motifs on the front of the embassy of South Africa, a cast aluminium shell that protected the building from the many projectiles thrown during protests against apartheid.

Atelier L'Œuf favoured smaller scales starting with sculpture, a white page ideal for experimenting with geometric correspondences, putting the shapes in volume; then they started exploring mosaic.

The workshop realised mainly abstract works related to kinetic art in pâte-de-verre, terracotta and hardstone. The presented lot was originally conceived as a table for an interior project and its base has recently been replaced with a base from another piece from the 1970s.