Lot 39
  • 39

Maria Pergay

Estimate
12,000 - 15,000 GBP
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Description

  • Maria Pergay
  • 'Ribbon Pouf'
  • number 4 from the edition of 12
  • enamelled stainless steel

Provenance

Demisch Danant, Paris
Suzanne Geiss Advising, New York
Acquired from the above by the present owner

Literature

Suzanne Demisch and Stephane Danant, Maria Pergay: Complete works 1957-2010, Bologna, 2011, pp. 253-254

Condition

Overall very good condition. Extremely fine surface scratches to the seat visible on close inspection and are not visually distracting. Minor drip mark of the paint to the top part of the edge of one of the legs of the piece.
"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."

Catalogue Note

Defining stainless steel as being as “precious as the most precious of woods”, Marie Pergay has perfected this cherished element throughout her artistic career. She fled her native Moldavia in 1937 to settle in Paris, where she trained with the sculptor Ossip Zadkine. Working on vitrine displays, her talent for sculptural composition was rapidly eyed by some of the biggest names in fashion including the houses Dior, Durer and Hermes for their. Working initially with themes involving mythology, animals, representing them through a wide palette of materials from sea shells to precious stones inlaid onto metals, it is towards the 1960s that she takes on stainless steel. Opening a shop on Placer des Vosges, she obtains many high end commissions such as designing the interior of the Saudi Royal family`s Palace which lasted project she worked on for 10 years.  She is greatly inspired by meeting and collaborating with the likes of Salvador Dali, Pierre Cardin and Jean Dive – with whom she exhibits her work in Maison et Jardin in 1968. 

Her design creations involve sensuous curves applied onto a seemingly impossible material malleability; a statement she makes as a counterweight of the rigidity found in standard furniture. The ribbon chair exemplifies this witty concept by solidifying a scaled up bow tie into a seating device.