French Modern
Pierre Augustin Rose
“We manage Pierre Augustin Rose like a research laboratory in perpetual motion. We are constantly producing prototypes, some of which will be developed to fit into our collection and assert our style” — Pierre Bénard
In recent years the popularity of mid-twentieth century design has grown at a somewhat exponential rate. Indeed the desire for “iconic” works by the greats of twentieth century modernism has reached a fever pitch that shows no sign of abating. Only last week, despite continued reports of economic doom and gloom, a unique dining table by eccentric Italian architect Carlo Mollino (1905-1973) set a record when it sold for $6.2 million at Sotheby’s contemporary art sale in New York. In almost every interiors shoot, at every design fair and in every new coffee table book we see the same cast of characters, perennially in Vogue — Charlotte Perriand (1903-1999), Jean Royère (1902-1981) and Jean Michel Frank (1895-1941) et al — with the result that people, increasingly, are willing to mix styles and periods more freely than ever before. Of course this trend for eclectically curated interiors extends far beyond the realms of twentieth century design. It’s an aesthetic seen frequently in the work of numerous architects and interior designers, with Charles Zana (b 1960), Pierre Yovanovitch (b. 1965) and Andre Mellone, amongst others, mixing furniture by the likes of Paavo Tynell (1890-1973), Pierre Jeanneret (1896-1967) and José Zanine Caldas (1919-2001) with antiques and contemporary art works including Bacon (1909-1922), Hirst (b. 1965) and Kapoor (b. 1954). Sharing a similar aesthetic inclination for combining and juxtaposing different styles, genres and periods, Pierre Bénard, Augustin Deleuze and Nina Rose founded Pierre Augustin Rose, with the ambition of creating a contemporary furniture collection that would blend seamlessly with such diverse, design-led interiors, and in particular, with art and antiquity. Despite an acknowledgment and understanding of their twentieth century design forebears, past and present never collide in their designs, but rather converge in a style that speaks of icons like Pierre Paulin (1927-2009) and Ico Parisi (1916-1966) without ever falling into pastiche, or worse, a regurgitation of mid-century style. Their oversized and luxuriously upholstered Minotaure armchair was inspired by Picasso’s iconic imagery, whereas the elegantly curved 190 and 280 sofas are imbued with a timelessness and restraint, typically associated with the innovative work of twentieth century masters. Carrying on a tradition of luxury in French modernism, Pierre Augustin Rose continue to innovate and create pieces that, whilst remaining elegant and understated (it’s not a brand that wants, or needs, to scream and shout for attention, much like it’s creators) pack an aesthetic punch sufficient to entirely transform an interior; adding an incomparable level of refinement, and indeed comfort — something I can wholeheartedly attest to, having recently attended a supper where, after pudding, one of the guests nodded off on a Pierre Augustin Rose Palais Royal sofa. The trio’s recent collaboration with the Paris-based Galerie Chenel — doyens of haute antiquity — speaks volumes; with the resulting collection, inspired, in part, by the iconic Villa Kerylos in Beaulieu-sur-Mer, an ode to simple lines, innovative design and pared back sophistication.
Pierre Bénard, Augustin Deleuze and Nina Rose at their Paris showroom
What was it that drew you to a career in design?
Pierre Bénard: While studying at the Beaux-Arts I discovered architecture and decorative arts. An internship with architects Jacques Couëlle and Anti Lovag instilled in me a taste for functional, creative and aesthetic research.
Augustin Deleuze: I’ve been passionate about antiques since I was very young, becoming familiar with Drouot as a teenager. I trained my eye and gained my knowledge there. In 2014 I decided to become an antique dealer and moved to the Marché aux Puces de Saint-Ouen, where I met Pierre. We recognised immediately that we both belonged to the same aesthetic world and opened a Galerie Bergère in the 9th arrondissement of Paris, where we started experimenting with and transforming antique chairs and canapés. After meeting Nina, we decided, almost immediately, to develop a collection of furniture.
Nina Rose: For me the main catalyst was meeting Pierre and Augustin. I never actually thought much of having a career in general; I was always navigating things as they happened. The whole process of constructing what we have accomplished today was very organic and uncalculated.
How did your recent collaboration with Galerie Chenel come about?
NR: I would say it was also a natural consequence of our private conversations.
AD: We’re friends with the Chenel family. We love their work and taste for art, antiquity and design and they also like ours. Ollivier and Gladys have our 280 sofa and Minitore armchair and we recently shot the collection at Adrien Chenel’s Paris apartment. Because we consider ourselves aesthetes, we design our collections so that they harmonise with antiquities. Through our collaboration we wanted to create furniture the Chenel’s could use in their gallery and during various art fairs. We were very much inspired by the Villa Kerylos in Beaulieu-sur-Mer and wanted to reference modernity and Constructivism as well as Etruscan influences.
PB: It was a meeting around the same passion for antiques and twentieth century design that inspired us to create a common project.
Whilst Galerie Chenel is one of the preeminent dealers of archaeological objects, and the attraction might be somewhat obvious for anyone aesthetically inclined; what is it about them that appeals to you personally?
PB: The Chenel’s exercise an uncompromising selective rigour in finding the most beautiful antique pieces for their gallery, as we do when we design our collections. In our work we have the same ethos — we never pander to the taste of the “market”.
The “Minotaure” armchair by Pierre Augustin Rose
Who’s the person that most inspires you?
NR: It would be impossible to choose only one. All the mad and magical artists that I admire — the ones that had the perseverance to succeed despite difficult circumstances.
PB: Axel Vervoordt (b. 1947) for having been the first to combine the richest, or most stripped-down of antiques, such as Egyptian statues and rustic furniture, with emblematic contemporary works by Antoni Tapiès (b. 1923) and Lucio Fontana (1899-1968). And then he revealed to us the Wabi spirit, which in recent years has guided his creative choices.
Where’s the most unforgettable place you’ve travelled?
NR: Kyoto, the spiritual centre of Japan. I miss it for its omnipresent harmony and efficiency of all kinds. I’d recommend staying at the Tawaraya Ryokan or Malda Hotel and visiting the Ryōan-ji and Shōden-ji temples. Tawaraya Ryokan, 278 Nakahakusancho, Nakagyo Ward (+81 75-211-5566); Malda Hotel, 684, Marukizaimokucho, Nakagyo Ward (www.malda-kyoto.com; +81 75-606-5385)
AD: I’m in love with Villa Kerylos. I admire this place for everything it represents. I’ve been going at least twice a year for the past five years. I love this place, the most complete, the most refined I know. The archaeologists and curators have brought every detail to perfection. It’s so rare and impressive. It was the ultimate inspiration in creating the Chenel collection
PB: Palazzo Fortuny during the Venice Biennale, which on its four floors offers four entirely different aesthetic universes; from the most modern on the ground floor, to the most Wabi all the way at the top.
Where would you like to go next?
NR: Interesting question at an interesting time. At this point I try to dream locally; for me it’s a stroll at Musée Bourdelle and an early dinner at Cibus. Musée Bourdelle, 18 Rue Antoine Bourdelle, 75015 Paris (www.bourdelle.paris; +33 1 49 54 73 73); Cibus, 5 Rue Molière, 75001 Paris (+33 1 42 61 50 19)
PB: Japan, which is our source of inspiration for simplicity, restraint, the essential, the Wabi taste. Nothing to add, nothing to take away, a rigorous discipline to which we always try to comply.
What’s the best souvenir you’ve bought home?
PB: An armchair that I bought a very long time ago, my first major purchase because of its price, without a name of the designer or source, quite simply an irresistible aesthetic choice. This piece brings together everything that guides my creative inspiration, a little classic; a little modernity, a lot of singularity without any ostentatious originality.
The “Palais Royal” sofa by Pierre Augustin Rose
Tell us about a recent “find” ?
PB: OGATA, a unique 800 sq m multi story complex opened recently in the heart of the Marais after four years of work; every detail has been thought out and designed with the greatest intelligence and care. The most Japanese place in Paris, it brings together a tea room, restaurant, bar, boutique and gallery. OGATA, 16 Rue Debelleyme, 75003 (www.ogata.com; +33 1 80 97 76 80)
If you didn’t live in Paris, where would you live?
AD: I love Paris and I can’t see myself living anywhere else. It’s a city full of inspiration and life. I get a similar feeling in the South of France.
PB: If I didn’t live in Paris, I would probably want to live in Paris for its galleries, bookstores, cafes and restaurants and its dimension of all possibilities even on foot. The charm of Paris lies in the very unique diversity of each district and yet they are all always very Parisian.
NR: An easy one, since I find Paris socially difficult and hostile. Berlin for its energy and music scene; I highly recommend visiting Boros Bunker, a private art collection, now associated with Berghain. London for its inconspicuous elegance and being close enough to Paris; and the Soane Museum is a must see — one of my favorite places. Sammlung Boros Bunker, Reinhardtstraße 20, 10117, Berlin (www.sammlung-boros.de; +49 30 27594065); Soane Museum, 13 Lincoln’s Inn Fields, Holborn, London (www.soane.org; + 44 (0) 20 7405 2107)
Which artist would you collect if you could?
NR: Lucian Freud (1922-2011), my favorite wonderer. In his work he successfully avoided threats to his independence and individuality. The one piece that I would dream to have is Three-Legged Horse (1937) — the only work of sculpture to survive that he made at the age of 15.
AD: Twentieth century artists inspire me a lot but what I like to collect above all is antiques — a piece of marble, an old chest of drawers in Boulle marquetry or an empire stool with claw feet. In terms of modernists, I love the work of Carlo Bugatti (1856-1940), which is somewhere between furniture and sculpture, and the lacquer work of Jean Dunand (1877-1942). All these items are unique and come with their stories; owning them is a powerful feeling. It’s a difficult choice — because for me it’s a passion, and as you learn more, you discover new things!
PB: Probably Constantin Brâncuși’s (1876-1957) sculptures; maybe even a single one that would be part of my approach towards stripping rather than accumulation.
What’s the first important piece of art/design you ever owned?
NR: Kazunori Hamana. He’s a Japanese fisher and a farmer who lives by the sea and makes his own anchovy sauce and ceramics. I purchased it directly from the artist; hard to believe that such a big and fragile work arrived to Paris in one piece. I’m glad as it allows me to travel to Japan without actually going there.
AD: A Pierre Guariche (1926-1995) “Prefacto” armchair with its original white upholstery. I like things to be as unique as possible, even if it means that sometimes they are way too damaged.
PB: A large painting by a Spanish artist Miquel Pena (b. 1963). A portrayal of a single man fishing with his feet in the water and a net just big enough for the catch of the day. When it was painted 40 years ago it conveyed already that we should take from the nature only what we need in order to nourish ourselves and nothing more.
Who’s your favourite artist/designer from the past twenty years?
PB: Vicenzo de Cotiis (b. 1958) for his unique and always renewed creativity, for his permanent search for new assemblies of perfectly mastered materials and for his unique style; each piece is more a work of art than it is ordinary furniture.
NR: Perhaps unexpected — Matthew Barney (b. 1967). To me, the most compelling, imaginative artist to emerge in years. I find his work is so singular and visually striking.
An object you would never part with?
NR: Being the audiophile that I am — my plaster Elipson speakers from the 70s; they perfectly combine beauty, design and sound.
PB: A headless marble bust that leaves room for the imagination. A hard-to-date, anonymous work, it represents my taste for antiques which has guided me towards the design of our collection.
What was the last thing you bought and loved?
NR: A sculpture of a Femme Allongé from the 1930s, found at the antique market in St Ouen. Pierre noticed it and considered buying it earlier that day. It happens quite often that amongst thousands of items the three of us are drawn to the same things.
PB: A very beautiful seventeenth century marble bust of Emperor Marc Aurel; I will place it on the floor and mix it with twentieth century objects.
Something you have your eye on?
AD: I buy objects constantly and obsessively — I visit Drouot almost every day; I’m currently trying to buy a Dinanderie by Jean Dunand (1877-1942) that I really like. Hôtel Drouot, 9 Rue Drouot, 75009 (www.drouot.com; +33 1 48 00 20 20)
NR: I’m still looking for the perfect Jaguar XJS…
What’s the best gift you’ve been given?
PB: A ring recently given to me by my lover; it’s a big amethyst mounted on silver. I like to feel its reassuring weight, its aesthetic presence and its simplicity. It signifies my attachment to this synthesis always sought between the luxurious rarity of things and their infinite simplicity.
AD: An Hermès towel from my parents; for me the best things are those precious objects you can use and save all your life.
What’s your biggest indulgence?
NR: Food … I plan all of my travels around it. Researching restaurants and recipes is what I do in my spare time. With Pierre and Augustin we regularly treat ourselves to the most amazing meals.
The “Bauhaus” armchair and “Galet” side table by Pierre Augustin Rose
What’s your favourite room in your apartment? Why, what makes it special?
NR: Of course the living room — I’ve spent the most energy and attention curating it as this is where I receive my guests. Our Pierre Augustin Rose universe revolves around the subject of modern sociability. Most of our pieces were conceived for this purpose and it is the room where we can accommodate most of our collection.
PB: I don't like the notion of an apartment in terms of its distribution and fragmentation of space. I only like to live in open spaces, a single room whether it is 100 sq m or just 14 sq m. Not so long ago I lived for almost two years in a magical 14 sq m apartment that I had invented as an amateur cabinet, crammed to the brim with my sometimes modest, sometimes more luxurious or very contemporary objects. I baptised it, Le Studiolo in reference to the cabinets of curiosities of the Italian Renaissance; the most emblematic of which, is the one painted by Vittore Carpaccio in 1502.
The site that most inspires you?
AD: I really like the south of France, the heights of Nice; for its sublime light and the beautiful heritage of twentieth century artists.
PB: The Brancusi workshop is the place that for me brings together all my sources of inspiration; it expresses this concept where everything comes together to become one, a complete work that does not allow not the idea of moving, removing nor of adding anything. Brancusi’s Studio, Place Georges Pompidou, 75004 Paris, France (www.centrepompidou.fr; +33 1 44 78 12 33)
NR: Today perhaps a cliché as we see them all over Instagram; but Fondation Maeght and La Colombe d’Or — the proximity of both is so enjoyable. I’m also drawn to the mystery behind Anselm Kiefers Le Barjac project; I can’t wait for it to be open to the public. Fondation Maeght, 623 Chemin des Gardettes, 06570 Saint-Paul-de-Vence, France (www.fondation-maeght.com; +33 4 93 32 81 63); La Colombe d’Or, Place du Général de Gaulle, 06570 Saint-Paul-de-Vence, France (www.la-colombe-dor.com; +33 4 93 32 80 02)
If you had to limit your shopping to one neighbourhood, in one city, which would you choose?
NR: Shibuya, Tokyo — enough shopping for a lifetime. Among my favourite spots is Lion café, Tokyo’s best kept secret and located in the seediest and darkest part of Shibuya. It was originally built in 1923, does not allow conversation and is dedicated to entirely classical music played from 3m high custom made speakers. Shirubee restaurant is also fantastic, hidden Izakaya, absolutely impossible to find. For books, Tsutaya. Meikyoku Cafe Lion, 2-19-13 Dogenzaka, Shibuya (+81 3-3461-6858); Shirubee, 1 Chome-11-5 Jinnan, Shibuya City (+81 3-3463-1010); Tsutaya, 6-11-1 Roppongi Minato-ku (+81 3-5775-1515)
PB: Probably the Left Bank of Paris; but only the small part that goes from the Church of Saint Germain Des Près to Notre Dame for its authenticity, its galleries and its bookshops and institutions such as Café de Flore and Allard. Café de Flore, 172 Boulevard Saint-Germain, 75006 (www.cafedeflore.fr; +33 1 45 48 55 26); Allard, 41 Rue Saint-André des Arts, 75006 (www.restaurant-allard.fr; +33 1 43 26 48 23)
Which designer, artist or architect do you think has had the biggest impact on your sense of style?
NR: Rick Owens (b. 1962), probably because I used to work for him many years ago. Although today, his universe is quite distant from mine, I find it so impressively complete, unapologetic and unique … I admire how he approaches the fact that his work is not for everyone.
PB: Robert Mallet-Stevens (1886-1945), Pierre Charreau (1883-1950), Walter Gropius (1883-1969), Le Corbusier (1887-1965) and Richard Neutra (1892-1970) for the architects, all the French decorators of the 1920s, 30s and 40s, Jean Michel Frank, Gilbert Rohde (1894-1944), Jean Royère (1902-1981), Gio Ponti (1891-1979) and Carlo Molino (1905-1973), without forgetting the Brazilian José Zanine Caldas.
What’s the best book you’ve read in the past year?
NR: Conversations with Picasso by Brassaï (1964). I was amazed to discover what a wonderful and highly intelligent writer Brassaï was. This intimate and anecdotal portrait of Picasso and Paris really changed my perception of the city.
PB: The Overstory by Richard Powers (2008) — a revelation of the intelligence of the plant world, our vulnerability to its destruction and the fight that the courageous have engaged in; trying to alert us.
What would you do if you didn’t work in design?
AD: I don't have a specific idea, but something strongly connected with the subject of beauty, that’s for sure!
NR: I would definitely be a musician or a chef — apart from working on our project those are the two universes that naturally consume the most of my time.
PB: Undoubtedly a conductor to create this perfect harmony between the instruments magnified by men and universal communication, this language common to all humanity.
What’s next?
AD: We’re expanding our gallery in Paris, with a very large corridor under a glass roof — a sublime perspective! We will be opening it in a few weeks.
PB: We manage Pierre Augustin Rose like a research laboratory in perpetual motion. We are constantly producing prototypes, some of which will be developed to fit into our collection and assert our style.