Eric schmit

Trojan Horses

Here, as a matter of near certainty, we might even have had no words at all. Or they could have been very restricted in number: Eric Schmitt—1986 / 2014—Works.

Or a precise series of photographic representations. Basic technical features—dimensions; material; function; dates of creation; name of the piece; number of copies in the edition—whether it is limited; end client if the piece is a one-off commission, a gallery or otherwise.

These little datasheets, the objectification of a sensitive relationship, would serve as comment-free labels, their interpretation and analysis left to the reader.

At the end of the book, Eric Schmitt would thank his team.

Sandra, his wife, sidekick and partner; and Emmanuel, his perennial right arm. He would surely say that, without them, without her, nothing would have been possible. He would refer to “our work,” adding: “I never speak in the first person.” He would also give thanks to a few loyal relations, to clients who have become friends, to a few gallery owners, to encounters that have become fragments of destinies. In this little group, which would include dogs and children, and horses, Eric Schmitt is the front man, yet he would remain in the background. In the studio, he signs the design, he decides, but he talks easily about the role others play in the birth of the object— the in-house assistant, the artisan glass-maker, and the founder.

And surely, these mentions would suffice.

They would translate the precision and often laconic luxury of his creations; they would communicate distance as well as constancy, maturity, serenity.

For the presentation of the author, a very brief portrait, a single image: an attempt to define his activity in a few sentences, leaving a wide margin for possible interpretations. A few sober, unaffected 201

Trojan Horses

Here, as a matter of near certainty, we might even have had no words at all. Or they could have been very restricted in number: Eric Schmitt—1986 / 2014—Works.

Or a precise series of photographic representations. Basic technical features—dimensions; material; function; dates of creation; name of the piece; number of copies in the edition—whether it is limited; end client if the piece is a one-off commission, a gallery or otherwise.

These little datasheets, the objectification of a sensitive relationship, would serve as comment-free labels, their interpretation and analysis left to the reader.

At the end of the book, Eric Schmitt would thank his team.

Sandra, his wife, sidekick and partner; and Emmanuel, his perennial right arm. He would surely say that, without them, without her, nothing would have been possible. He would refer to “our work,” adding: “I never speak in the first person.” He would also give thanks to a few loyal relations, to clients who have become friends, to a few gallery owners, to encounters that have become fragments of destinies. In this little group, which would include dogs and children, and horses, Eric Schmitt is the front man, yet he would remain in the background. In the studio, he signs the design, he decides, but he talks easily about the role others play in the birth of the object— the in-house assistant, the artisan glass-maker, and the founder.

And surely, these mentions would suffice.

They would translate the precision and often laconic luxury of his creations; they would communicate distance as well as constancy, maturity, serenity.

For the presentation of the author, a very brief portrait, a single image: an attempt to define his activity in a few sentences, leaving a wide margin for possible interpretations. A few sober, unaffected 201

8

Suspension Opaline, verre opalin et fer battu, 2000 • Opaline pendant lamp, opaline glass and hand-wrought iron, 2000

Ci-contre : Suspension Fingi nº 2, bronze patiné, opaline et verre, 2000 • Ci-contre: Fingi nº 2 pendant lamp, patinated bronze, opaline glass, 2000

9

8

Suspension Opaline, verre opalin et fer battu, 2000 • Opaline pendant lamp, opaline glass and hand-wrought iron, 2000

Ci-contre : Suspension Fingi nº 2, bronze patiné, opaline et verre, 2000 • Ci-contre: Fingi nº 2 pendant lamp, patinated bronze, opaline glass, 2000

9

Guéridons Bomarzo, bronze patiné, 1998 ; Tables basses Naja, bronze patiné, 2006.

Eric Schmitt pour Christian Liaigre • Bomarzo pedestal tables, patinated

bronze, 1998; Naja coffee tables, bronze, 2006.

Eric Schmitt for Christian Liaigre

Guéridons Bomarzo, bronze patiné, 1998 ; Tables basses Naja, bronze patiné, 2006.

Eric Schmitt pour Christian Liaigre • Bomarzo pedestal tables, patinated

bronze, 1998; Naja coffee tables, bronze, 2006.

Eric Schmitt for Christian Liaigre

48

Console Dragée, bronze et marbre rose, 2008 • Dragée console, bronze and light pink marble, 2008

Ci-contre : lampadaire Arbre, métal patiné ciré et acrylique opalescent, 2008 • Ci-contre: Tree floor lamp, patinated and waxed metal and opalescent acrylic, 2008

49

48

Console Dragée, bronze et marbre rose, 2008 • Dragée console, bronze and light pink marble, 2008

Ci-contre : lampadaire Arbre, métal patiné ciré et acrylique opalescent, 2008 • Ci-contre: Tree floor lamp, patinated and waxed metal and opalescent acrylic, 2008

49

53

table basse Bracelet, bronze patiné et laqué et ardoise, 2008 • Bracelet coffee table, patinated and lacquered bronze and slate, 2008

53

table basse Bracelet, bronze patiné et laqué et ardoise, 2008 • Bracelet coffee table, patinated and lacquered bronze and slate, 2008

74

Guéridon Secret, bronze patiné et bol argenté, 2008 • Secret pedestal table, patinated bronze and silvered bowl, 2008

75

74

Guéridon Secret, bronze patiné et bol argenté, 2008 • Secret pedestal table, patinated bronze and silvered bowl, 2008

75

82

Bureau Bénédictine, aluminium laqué rouge et blanc et cuir rouge, 2010 • Benedictine desk, red and white lacquered aluminum and red leather, 2010

82

Bureau Bénédictine, aluminium laqué rouge et blanc et cuir rouge, 2010 • Benedictine desk, red and white lacquered aluminum and red leather, 2010

Table Bulb, verre de Bohême et aluminium anodisé, 2011.

Galerie Ralph Pucci • Bulb table, Bohemian glass and anodized aluminum, 2011.

Ralph Pucci gallery

Table Bulb, verre de Bohême et aluminium anodisé, 2011.

Galerie Ralph Pucci • Bulb table, Bohemian glass and anodized aluminum, 2011.

Ralph Pucci gallery

Catalogue RaisonnĂŠ

225

Catalogue RaisonnĂŠ

225

474 475

2011 471

Vase Bar, verre de Bohême, coloris variés, 25 × D. 25 cm, 2011. Galerie Ralph Pucci, New York et Atelier Eric Schmitt, Paris.

∙∙

[ → P. 88 & 89 ]

Bar vase, Bohemian glass, varied colors, 25 × D. 25 cm, 2011.

Ralph Pucci gallery, New York and Eric Schmitt Studio, Paris. [ → P. 88 & 89 ] 472

466

300

Console Bracket, fonte d’acier patiné et Corian, 70 × 130 × 45 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste. [ → P. 100 & 101 ]

∙∙

475

474

Bracket console, patinated cast steel and Corian, 70 × 130 × 45 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → P. 100 & 101 ] 473

Table basse Bracket, fonte d’acier patiné et marbre, 40 × 130 × 60 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste.

∙∙

[ → P. 102 & 103 ]

Bracket coffee table, patinated cast steel and marble, 40 × 130 × 60 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → P. 102 & 103 ]

301

Table Bulb, verre de Bohême transparent, rouge, ambre ou violet et aluminium anodisé bleu nuit, canon de fusil ou champagne, 75 × D. 130 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste.

∙∙

[ → cette page, 117 & 118 ]

Bulb table, transparent red, amber or violet Bohemian glass and midnight blue, gun metal or champagne anodized aluminum, 75 × D. 130 cm, 2011.

Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → cette page, 117 & 118 ]

Table d’appoint Bulb, verre de Bohême rouge, ambre ou violet et aluminium anodisé bleu nuit, canon de fusil ou noir, 45 × D. 50 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste.

∙∙

[ → cette page ]

Bulb side table, red, amber or violet Bohemian glass and anodized midnight blue, gun metal or black aluminum, 45 × D. 50 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → cette page ]

476

Console Caroline M., fer battu et Corian gris perle, 50 × 100 × 30 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ NON ILLUSTRÉE ]

Caroline M. console, handwrought iron and pearl gray Corian, 50 × 100 × 30 cm, 2011. Eric Schmitt Studio, Paris. [ Not illustrated ]

478

Table basse Caroline M., fer battu et Corian blanc cassé, 45 × D. 65 cm, 2011.

Atelier Eric Schmitt, Paris

∙∙

[ NON ILLUSTRÉE ]

Caroline M. coffee table, hand-wrought iron and off-white Corian, 45 × D. 65 cm, 2011. Eric Schmitt Studio, Paris. [ Not illustrated ]

477

Table à dîner Caroline M., fer battu et Corian bleu pâle, 75 × 180 × 90 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ NON ILLUSTRÉE ]

Caroline M. dining table, hand-wrought iron and pale blue Corian, 75 × 180 × 90 cm, 2011. Eric Schmitt Studio, Paris. [ Not illustrated ]

479

Guéridon Champignon, verre de Bohême, coloris variés, 40 × D. 50 cm, 2011.

Galerie Ibu, Paris.

∙∙

[ → P. 90 & 91 ]

Mushroom pedestal table, Bohemian glass, varied colors, 40 × D. 50 cm, 2011.

Ibu gallery, Paris. [ → P. 90 & 91 ]

474 475

2011 471

Vase Bar, verre de Bohême, coloris variés, 25 × D. 25 cm, 2011. Galerie Ralph Pucci, New York et Atelier Eric Schmitt, Paris.

∙∙

[ → P. 88 & 89 ]

Bar vase, Bohemian glass, varied colors, 25 × D. 25 cm, 2011.

Ralph Pucci gallery, New York and Eric Schmitt Studio, Paris. [ → P. 88 & 89 ] 472

466

300

Console Bracket, fonte d’acier patiné et Corian, 70 × 130 × 45 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste. [ → P. 100 & 101 ]

∙∙

475

474

Bracket console, patinated cast steel and Corian, 70 × 130 × 45 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → P. 100 & 101 ] 473

Table basse Bracket, fonte d’acier patiné et marbre, 40 × 130 × 60 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste.

∙∙

[ → P. 102 & 103 ]

Bracket coffee table, patinated cast steel and marble, 40 × 130 × 60 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → P. 102 & 103 ]

301

Table Bulb, verre de Bohême transparent, rouge, ambre ou violet et aluminium anodisé bleu nuit, canon de fusil ou champagne, 75 × D. 130 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste.

∙∙

[ → cette page, 117 & 118 ]

Bulb table, transparent red, amber or violet Bohemian glass and midnight blue, gun metal or champagne anodized aluminum, 75 × D. 130 cm, 2011.

Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → cette page, 117 & 118 ]

Table d’appoint Bulb, verre de Bohême rouge, ambre ou violet et aluminium anodisé bleu nuit, canon de fusil ou noir, 45 × D. 50 cm, 2011. Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste.

∙∙

[ → cette page ]

Bulb side table, red, amber or violet Bohemian glass and anodized midnight blue, gun metal or black aluminum, 45 × D. 50 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → cette page ]

476

Console Caroline M., fer battu et Corian gris perle, 50 × 100 × 30 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ NON ILLUSTRÉE ]

Caroline M. console, handwrought iron and pearl gray Corian, 50 × 100 × 30 cm, 2011. Eric Schmitt Studio, Paris. [ Not illustrated ]

478

Table basse Caroline M., fer battu et Corian blanc cassé, 45 × D. 65 cm, 2011.

Atelier Eric Schmitt, Paris

∙∙

[ NON ILLUSTRÉE ]

Caroline M. coffee table, hand-wrought iron and off-white Corian, 45 × D. 65 cm, 2011. Eric Schmitt Studio, Paris. [ Not illustrated ]

477

Table à dîner Caroline M., fer battu et Corian bleu pâle, 75 × 180 × 90 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ NON ILLUSTRÉE ]

Caroline M. dining table, hand-wrought iron and pale blue Corian, 75 × 180 × 90 cm, 2011. Eric Schmitt Studio, Paris. [ Not illustrated ]

479

Guéridon Champignon, verre de Bohême, coloris variés, 40 × D. 50 cm, 2011.

Galerie Ibu, Paris.

∙∙

[ → P. 90 & 91 ]

Mushroom pedestal table, Bohemian glass, varied colors, 40 × D. 50 cm, 2011.

Ibu gallery, Paris. [ → P. 90 & 91 ]

489

480

Console Goodboy nº 1, bronze patiné, 75 × 95 × 30 cm, 2011. Galerie Dutko, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ NON ILLUSTRÉE ]

Goodboy nº 1 console, patinated bronze, 75 × 95 × 30 cm, 2011. Dutko Gallery, 8 copies and 4 artist’s proofs. [ Not illustrated ] 481

Console Goodboy nº 2, bronze patiné, 75 × 80 × 30 cm, 2011. Galerie Dutko, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ → P. 95 & 99 ]

Goodboy nº 2 console, patinated bronze, 75 × 80 × 30 cm, 2011. Dutko Gallery, 8 copies and 4 artist’s proofs. [ → P. 95 & 99 ]

482

Table basse Goodboy, bronze patiné, 35 × 180 × 50 cm, 2011. Galerie Dutko, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ → P. 96-97 ]

Goodboy coffee table, patinated bronze, 35 × 180 × 50 cm, 2011. Dutko Gallery, 8 copies and 4 artist’s proofs. [ → P. 96-97 ] 483

Table basse Lazy Moon, bronze patiné et marbre, 35 × 120 × 150 cm, 2011.

Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste. [ → P. 105 & 130-131 ]

∙∙

485

Lazy Moon coffee table, patinated bronze and marble, 35 × 120 × 150 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → P. 105 & 130-131 ] 484

Cabinet Lempereur nº 2, bois laqué bleu pâle et beige, 215 × 80 × 45 cm, 2011. Atelier Eric Schmitt, Paris, pièce unique.

∙∙

[ NON ILLUSTRÉE ]

Lempereur nº 2 cabinet, pale blue and beige lacquered wood, 215 × 80 × 45 cm, 2011. Eric Schmitt Studio, Paris, one-off piece. [ Not illustrated ]

Suspension Marceau, aluminium anodisé, intérieur laqué et opaline en verre, D. 120cm / D. 90 cm / D. 60 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ → P. 93 & 303 ]

Marceau pendant lamp, anodized aluminum, lacquered interior and opaline glass, D. 120 cm / D. 90 cm / D. 60 cm, 2011. Eric Schmitt Studio, Paris. [ → P. 93 & 303 ] 486

Bureau Mathias H., acier patiné et bois laqué, 75 × 180 × 80 cm, 2011. Atelier Eric Schmitt, Paris, pièce unique. [ NON ILLUSTRÉE ]

302

∙∙

Mathias H. desk, patinated steel and lacquered wood, 75 × 180 × 80 cm, 2011. Eric Schmitt Studio, Paris, one-off piece. [ Not illustrated ]

∙∙

Onyx coffee table, silver-plated bronze and backlit onyx, 50 × D. 90 cm, 2011. Eric Schmitt Studio, Paris, 8 copies and 4 artist’s proofs. [ Not illustrated ]

487

Cheminée Moscou, bronze, 490 × 190 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ NON ILLUSTRÉE ]

Moscow fireplace, bronze, 490 × 190 cm, 2011.

Eric Schmitt Studio, Paris. [ Not illustrated ] 488

Table basse Onyx, bronze plaqué argent et onyx rétroéclairé, 50 × D. 90 cm, 2011. Atelier Eric Schmitt, Paris, 8 exemplaires et 4 épreuves d’artiste. [ NON ILLUSTRÉE ]

489

Table à rallonge Rectangle, bronze patiné et marbre blanc de Namibie, 75 × 200 × 120 cm / 75 × 300 × 120 cm, 2011. Atelier Eric Schmitt, Paris, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ → cette page ]

Rectangle table with extension, patinated bronze and white Namibian marble, 75 × 200 × 120 cm / 75 × 300 × 120 cm, 2011. Eric Schmitt Studio, Paris, 8 copies and 4 artist’s proofs. [ → cette page ]

485

303

Une légende à rédiger pour cette image (indication du lieu) • Une légende à rédiger pour cette image (indication du lieu)

489

480

Console Goodboy nº 1, bronze patiné, 75 × 95 × 30 cm, 2011. Galerie Dutko, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ NON ILLUSTRÉE ]

Goodboy nº 1 console, patinated bronze, 75 × 95 × 30 cm, 2011. Dutko Gallery, 8 copies and 4 artist’s proofs. [ Not illustrated ] 481

Console Goodboy nº 2, bronze patiné, 75 × 80 × 30 cm, 2011. Galerie Dutko, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ → P. 95 & 99 ]

Goodboy nº 2 console, patinated bronze, 75 × 80 × 30 cm, 2011. Dutko Gallery, 8 copies and 4 artist’s proofs. [ → P. 95 & 99 ]

482

Table basse Goodboy, bronze patiné, 35 × 180 × 50 cm, 2011. Galerie Dutko, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ → P. 96-97 ]

Goodboy coffee table, patinated bronze, 35 × 180 × 50 cm, 2011. Dutko Gallery, 8 copies and 4 artist’s proofs. [ → P. 96-97 ] 483

Table basse Lazy Moon, bronze patiné et marbre, 35 × 120 × 150 cm, 2011.

Galerie Ralph Pucci, New York, 24 exemplaires et 4 épreuves d’artiste. [ → P. 105 & 130-131 ]

∙∙

485

Lazy Moon coffee table, patinated bronze and marble, 35 × 120 × 150 cm, 2011. Ralph Pucci gallery, New York, 24 copies and 4 artist’s proofs. [ → P. 105 & 130-131 ] 484

Cabinet Lempereur nº 2, bois laqué bleu pâle et beige, 215 × 80 × 45 cm, 2011. Atelier Eric Schmitt, Paris, pièce unique.

∙∙

[ NON ILLUSTRÉE ]

Lempereur nº 2 cabinet, pale blue and beige lacquered wood, 215 × 80 × 45 cm, 2011. Eric Schmitt Studio, Paris, one-off piece. [ Not illustrated ]

Suspension Marceau, aluminium anodisé, intérieur laqué et opaline en verre, D. 120cm / D. 90 cm / D. 60 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ → P. 93 & 303 ]

Marceau pendant lamp, anodized aluminum, lacquered interior and opaline glass, D. 120 cm / D. 90 cm / D. 60 cm, 2011. Eric Schmitt Studio, Paris. [ → P. 93 & 303 ] 486

Bureau Mathias H., acier patiné et bois laqué, 75 × 180 × 80 cm, 2011. Atelier Eric Schmitt, Paris, pièce unique. [ NON ILLUSTRÉE ]

302

∙∙

Mathias H. desk, patinated steel and lacquered wood, 75 × 180 × 80 cm, 2011. Eric Schmitt Studio, Paris, one-off piece. [ Not illustrated ]

∙∙

Onyx coffee table, silver-plated bronze and backlit onyx, 50 × D. 90 cm, 2011. Eric Schmitt Studio, Paris, 8 copies and 4 artist’s proofs. [ Not illustrated ]

487

Cheminée Moscou, bronze, 490 × 190 cm, 2011. Atelier Eric Schmitt, Paris.

∙∙

[ NON ILLUSTRÉE ]

Moscow fireplace, bronze, 490 × 190 cm, 2011.

Eric Schmitt Studio, Paris. [ Not illustrated ] 488

Table basse Onyx, bronze plaqué argent et onyx rétroéclairé, 50 × D. 90 cm, 2011. Atelier Eric Schmitt, Paris, 8 exemplaires et 4 épreuves d’artiste. [ NON ILLUSTRÉE ]

489

Table à rallonge Rectangle, bronze patiné et marbre blanc de Namibie, 75 × 200 × 120 cm / 75 × 300 × 120 cm, 2011. Atelier Eric Schmitt, Paris, 8 exemplaires et 4 épreuves d’artiste.

∙∙

[ → cette page ]

Rectangle table with extension, patinated bronze and white Namibian marble, 75 × 200 × 120 cm / 75 × 300 × 120 cm, 2011. Eric Schmitt Studio, Paris, 8 copies and 4 artist’s proofs. [ → cette page ]

485

303

Une légende à rédiger pour cette image (indication du lieu) • Une légende à rédiger pour cette image (indication du lieu)