Yves Saint Laurent Pierre Bergé - Christie's

cabinet, and his eventual instruction to raise it on a
plinth between the banquettes that perfectly
completed the display. The coral coloured details
played their part in a finely nuanced chromatic
orchestration that included a remarkable rug and
decorative and architectural features such as
curtains and the sculpted ceiling. So considered was
every aspect of the installation that surely, in
addition to their inherent qualities and their role in
the physical structuring of this area of the room, the
coral colour of the banquettes was also a deliberate
counterpoint to the red of the Matisse picture.
A letter dated 19 March 1929 from Rose Adler to
Etienne Cournault – two other artists involved with
Doucet’s projects – underscores how the
introduction of these banquettes contributed to the
collector’s satisfaction: ‘Champert has taken apart
the base of the cabinet. Doucet would appreciate
that you first speak with him prior to any decision.
He seemed happy to have seen again his carpet,
more specifically now with the new orange
lacquered banquettes.’ Such concerns compare
directly with the sensibilities of Yves Saint Laurent
and Pierre Bergé. Driven by comparable aesthetic
exigencies, they have reflected and refined through
the years – with a sure eye that could not tolerate
any discordant note – the intricate dialogues within
the wide range of their collection.
48
– Sonja Ganne
European Head, 20th Century Decorative Art & Design, Paris
GUSTAVE MIKLOS (1888–1967)
A pair of banquettes, circa 1928, leopard skin, palm wood,
red lacquered bronze, signed, 18 1 ⁄2 in. (47 cm.) high, 25 5 ⁄8 in.
(65 cm.) wide, 15 5 ⁄8 in. (40 cm.) deep.
Estimate: 32,000,000–3,000,000