making it become a reality. To the designer Sinéad McKenna whose wonderful design brings Eileen Gray to life.
My profound thanks to the following institutions who have granted me access to their collections and archives and, afforded me the opportunity to find more magical things in the world of Eileen Gray. This publication would not have been possible without their involvement.
To the following (stated alphabetically); Les Art Décoratifs, Musée des Arts Décoratifs, Paris, Bibliothèque des Art Décoratifs, Paris, Bibliothèque Kandinsky, Paris, Bibliothèque nationale de France, Paris, Bristol Museum and Art Gallery, Fondation Le Corbusier Paris, Bibliothèque, collections Jacques Doucet, Paris, British Architectural Library, London, Centre Nationale d’art et de culture Georges Pompidou, Paris, Irish Architectural Archive, Dublin, Musée national de la Marine, Paris, Musée Rodin, Paris, National Library of Ireland, Dublin, National Portrait Gallery, London, Rare Book and Manuscript Library, Columbia University, New York, Richview Library, University College Dublin, Dublin, Royal Institute of the Architects of Ireland, Dublin, RIBA Library Drawings, London, Slade School Archives, UCL, Tate Library and Archive, Tate Britain, London, The Museum of Modern Art, New York, The National Irish Visual Arts Library, NCAD, Dublin, Victoria and Albert Museum, Trinity College Dublin Archives, Virginia Museum of Fine Arts, Richmond, Vitra Design Museum.
Thank you to the following galleries for their help and assistance; DeLorenzo Gallery, New York, Galerie Ann-Sophie Duval, Galerie Doria, Galerie Dukto, Galerie Jacques De Vos, Galerie Peyroulet and Galerie Vallois, Paris.
It is a great pleasure to acknowledge the contributions of all those who helped with memories, advice, letters, interviews, access to private collections and archives, hospitality and conversation. Peter Adam, Renaud Barrès, Carolyn Burke, Julie Blum, Dominique Chenivesse and Giles Peyroulet, Mathias Schwartz-Claus, Roger Conover, Caroline Constant, Arnaud Dercelles, Jacques De Vos, Joe and Marie Donnelly, the late Mairead Dunlevy, Adriena Friedman, Philippe Garner, Pierre Antoine Gatier, Sarah Glennie, Roger Griffith, Charles Hind, Marie-Laure Jousset, Barbara Kenny, Sean Kissane, Elizabeth Kujawski, Ronald and Jo Carole Lauder, Anthony Lorenzo, Serge Maudit, Kathryn Meghen, Frédéric Migayrou, Mary Mc Guckian, Colum O’Riordan, Marco Orsini, Shane O’Toole, Evelyne Possémé, Donna Romano, Justin Russo, Daniel James Ryan, Joseph Rykwert, Justine Sambrook, Barry Shifman, Francis Spalding, Ruth Starr, Cheska and Bob Vallois, the late Dorothy Walker, Simon Walker, Eva White, Christopher Wilks, Wendy Williams.
5. The Siren chair, circa 1919, sculpted wood, natural lacquer, velvet upholstery © Anthony De Lorenzo
A special acknowledgement goes to Cloé Pitiot for all of her help and assistance which has been greatly appreciated, and who continually shares her rich perspective and encyclopaedic scholarship on Eileen Gray. I am indebted to you my friend.
Grateful acknowledgement is made to the Rare Book and Manuscript Library, Columbia University, New York, for permission to quote from the Stephen Haweis papers; to Trinity College Dublin Archives, Dublin, for permission to quote from the Paul Henry papers, and The National Irish Visual Arts Library, NCAD, Dublin to quote from the Dorothy Walker papers.
Photographs have been reproduced with the kind permission of Anthony DeLorenzo, New York, Archives Galerie Giles Peyroulet, Paris, Bristol Museums, Galleries and Archives, Ceadogan Rugs Ltd, Centre Pompidou, Mnam-CCI, Christies Images, Collection of the Dunedin Public Art Gallery, Courtesy Galerie Vallois, Paris, Commerce Graphics Ltd, Courtesy Galerie Vallois, Fondation Le Corbuiser, Paris, Freer Gallery of Art, Smithsonian Institution, Washington D.C, RIBA Library Drawings and Archives Collections, Simon Walker Architects, Smithsonian American Art Museum, The Alexander Turnbull Library, Wellington, New Zealand, The Irish Museum of Modern Art, Collection of the Dunedin Public Art Gallery, The Library of Congress Prints and Photographs Division Washington, The Marine Biological Laboratory Archives and the History of Marine Biological Laboratory website, The Museum of Modern Art, New York, The National Portrait Gallery, London, The Slade School of Fine Art, London, Topfoto/Roger Viollet, Victoria and Albert Museum, London, Virginia Museum of Fine Arts, Richmond.
While every effort has been made to trace copyright holders, I would be grateful to hear from those who may have escaped my notice so that I can amend accordingly.
On a personal note I am humbled by certain friends and family, both here and abroad, who have, for the past decade, encouraged me when I was truly despondent with this project. To Patrick Boyle, Yvonne Doherty, and Sarah Nolan – it is lovely to work with friends, especially those who have continually listened. Of special mention is my kindred spirit Sheila Ozechowski, who believed in me during the most difficult of times, I am blessed to have a best friend who is also my family. To those who have nourished my thoughts and shown continued friendship – to my soul sisters Eleanor Butler, Sandra Heise, Majella Lynch, Audrey Whitty and by default my soul brother Ciarán Woods. To Patricia and Wick Walsh – you have stood by me since the very beginning and continue to do so. To the late Teresa Meghen who kept telling me that I could do it. To the tour-de-force that is Joan Butler, who, without agenda, spent countless hours editing my thesis, and who comes to every lecture – I can never repay you. To the amazing Sharon Goff, who spent numerous hours sorting images and helping with all of the machinations of a PhD and, to Jason Goff – for all the countless technical glitches which you fixed. To Finnan and Rowan Goff who kept me laughing throughout. I am especially appreciative of my parents Tom and Eileen Goff – there are no words which can do you justice – except to say thank you for your ceaseless belief in me, your love and strength got me through this long, and at times, never-ending journey. Lastly this book is in memory of my loving husband and best friend Conor Meghen. I miss you every day and hope that you are somewhere quietly proud.
Jennifer Goff, September 2014
Introduction
For much of the twentieth century Eileen Gray remained an elusive figure. Born in Ireland, Gray trained as an artist in both London and Paris and continued to produce artwork throughout her life. She is renowned primarily for her work in France during the 1910s and 1920s as a furniture and interior designer. Gray was also a photographer, capturing artistic images in form, light and shade. Forming a successful partnership with lacquer artist Seizo Sugawara (1884-1937), Gray became the first twentieth-century European artist to adapt traditional Asian lacquer techniques to contemporary Western furnishings. Along with her friend Evelyn Wyld ( 1882-1973) she designed wall hangings and carpets which were sold at her shop Jean Désert, opened in May 1922. The house E.1027 and its furnishings are undoubtedly her best known work. Despite the house being published in L’Architecture Vivante in 1929, the design was attributed to other architects and the success which Gray had early in her career as a furniture designer and interior designer was soon forgotten. As a direct result Gray was omitted from the canon of modern architecture until her work was revived by a series of articles written from 1968 onwards and the record prices her work began to achieve at auction.1
6. Eileen Gray, by Berenice Abbott, 1926, black and white photograph © NMI
Beginning in 1923, Gray experimented with architectural form. She was advised by and collaborated with a number of architects from that period. This resulted in the realisation of interior design projects and new buildings. In her archive there are numerous architectural projects which remain unresolved. As a furniture designer Gray constantly varied the media she used; chrome, celluloid, plastics, perforated metal and cork. Her work was multi-functional, user-friendly, ready for mass production yet succinctly unique, and her designs show great technical virtuosity. Initially she had hoped to mass-produce her lacquer work, but the sheer expense of the process proved prohibitive. As an interior designer, especially in the commissions from Mme Mathieu-Lévy (Juliette Lévy) for her Rue de Lota and Boulevard Suchet apartments, she excelled in the creation of architectonic environments. The planning of walls, decors, lighting and fixtures created a modern interior concept. The Rue de Lota apartment was completed in two stages – the first from 1919-22 and the second