André Dubreuil Unique stool 1986 Concrete reinforcement steel rods. 27 1/4 x 39 1/8 x 17 7/8 in (69.3 x 99.3 x 45.7 cm)
Provenance Collection of the artist, Bassett Road, London, 1986 Collection of the artist, Beethoven Street, London Celia Lyttelton, London Literature Cut and Shut: the history of creative salvage, London, 2012, illustrated p. 120 Catalogue Essay André Dubreuil de.nes his work as “Super Classical” (Cut and Shut: The History of Creative Salvage, London, 2012, p. 120), which is borne out in his practice (and even by him naming his dog after Emile-Jacques-Ruhlmann). Dubreuil moved to London in 1969 and the present stool, which was one of Dubreuil’s earliest pieces, was part of the artist’s collection when he lived on Bassett Road and then Beethoven Street, London. He later gifted it to the artist Celia Lyttelton. Dubreuil prefers to work in three dimensions. He produces little on paper, eschewing drafts, and works freehand by sculpting the pieces in space. He has described working with concrete reinforcement rods: “I did love those concrete rods. It was like drawing, but in three dimensions. It’s amazing how you get volume” (ibid.). In 1992, Dubreuil left London for the Dordogne where he continues to live and work. Read More
André Dubreuil Unique stool 1986 Concrete reinforcement steel rods. 27 1/4 x 39 1/8 x 17 7/8 in (69.3 x 99.3 x 45.7 cm)
Provenance Collection of the artist, Bassett Road, London, 1986 Collection of the artist, Beethoven Street, London Celia Lyttelton, London Literature Cut and Shut: the history of creative salvage, London, 2012, illustrated p. 120 Catalogue Essay André Dubreuil de.nes his work as “Super Classical” (Cut and Shut: The History of Creative Salvage, London, 2012, p. 120), which is borne out in his practice (and even by him naming his dog after Emile-Jacques-Ruhlmann). Dubreuil moved to London in 1969 and the present stool, which was one of Dubreuil’s earliest pieces, was part of the artist’s collection when he lived on Bassett Road and then Beethoven Street, London. He later gifted it to the artist Celia Lyttelton. Dubreuil prefers to work in three dimensions. He produces little on paper, eschewing drafts, and works freehand by sculpting the pieces in space. He has described working with concrete reinforcement rods: “I did love those concrete rods. It was like drawing, but in three dimensions. It’s amazing how you get volume” (ibid.). In 1992, Dubreuil left London for the Dordogne where he continues to live and work. Read More
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
