Conceived in the mid-1920s by Eileen Gray for the eminent villa E-1027, the present tubular chairs are sculptural masterworks that embody the designer’s rigorously modernist approach. These very chairs were integral elements of her architectural chef d’oeuvre, imagined as a holistic work of art overlooking the Mediterranean Sea. The glossy nickel patina of the chairs illuminate the sinuous structure, punctuated by short horizontal bars of metal and fabric upholstered seats. Like much of Gray’s furniture from the 1920s, the chairs are a subtle nod to the Bauhaus and De Stijl movements through their use of minimalist lines. Along with the iconic work of architecture for which they were built, the chairs epitomize Eileen Gray’s purist vision of modernism.

Intended as an estival escape for Eileen Gray’s lover, Romanian architect Jean Badovici, E-1027 is heralded today as a distinct architectural achievement. Coded for their collaborative efforts, the name comprises the letter E for Eileen, numbers 10 and 2 for the letters in Jean Badovici’s first and last names, and concludes with 7, for the G in Gray. She drew up the plans and constructed the villa between 1926 and 1929 with Badovici’s assistance. Located in the lush landscape of Roquebrune-Cap-Martin, to the east of Monte Carlo, the chalk white villa overlooks the shimmering cerulean of the Mediterranean. Indoors, Gray took care to consider how one would move about and live in the space. Rooms give onto sun-drenched balconies, while privacy is maintained through drop-down canopies that extend over the façade of rectangular windows. Embodying an economy of means, Gray designed pieces of furniture to serve multiple functions, oftent.mes s integrating them into the architecture itself. Playful French quips were stenciled onto the walls to read: “Defense de rire”, instructing visitors not to laugh, “Chapeaux” for where to place hats, and “Citrons” to store the fresh lemons from nearby Menton.

Erroneously attributed to Jean Badovici and Le Corbusier over the past century, E-1027 stands today as a manifestation of Eileen Gray’s clever capacity to envision a truly livable space, and subsequently translate it into an exquisite work of architecture. Although she had extensive experience in furniture design, Gray had never before built a fully functional home. The influence of Le Corbusier is evident: she acknowledges his Five Points of Architecture with her inclusion of pilotis, horizontal windows, a plain façade and rooftop deck. She chose to forgo the open floorplan for small, intimate rooms with multifunctional walls that doubled as shelving spaces and wardrobes. Enamored with her creation, Le Corbusier would become a part of the villa’s history in a series of ways. At the very origin, he had introduced Badovici and Gray before they became romantically involved. When they split in the 1930s, Badovici would take holidays at the villa with his new wife, and they invited Le Corbusier on one such sojourn. Seeking to leave a personal mark on the architecture, Le Corbusier painted vibrant murals on the white walls without requesting Gray’s approval. An irrevocable rift was formed in their relationship, and Gray would never again return to the villa. Ever obsessed with E-1027, Le Corbusier would construct his Cabanon de vacances on the adjacent plot of land in 1951, before his unt.mes ly death by drowning in the waters below.

These particular chaises, with their pronounced use of tubular metal, fit harmoniously into the ensemble of furniture Gray devised for E-1027. A total of six were employed in the villa, including the present two. Archival records show that three had been repainted in white and were placed in the salon, contributing to a convivial environment in which guests could converse; another was employed at a work desk in the more private master bedroom; and yet another sat at a small cork and metal dining table that brilliantly featured both a lamp integrated into the structure, as well as an adjacent leather strap on which to place the heated meal. Opposite the tubular chair was a cushioned seat constructed in wood that extended directly out from the wall behind it. The entirety of this mise en scene, that granted both seated parties a view of the Mediterranean, so accurately captured Gay’s approach to both furniture décor and architecture itself. Constantly seeking to optimize space and resources, she was able to efficiently create quiet moments that were both aesthetic and functional. Although each of these elements stand on their own as distinct accomplishments in design, Gray cleverly blended them into the architecture to fully achieve a “total work of art.”

E-1027 would gradually fall into a dilapidated state: the Nazis took hold of the villa and used it for target practice during the German occupation of France in the Second World War. The home was back in private hands by the 1980s. By the late 1990s, following the death of its owner, the French state acquired the land and conducted a proper restoration. The present two chairs remained in the villa until they were sold by Replica Shoes ’s Monaco in October of 1991. They were acquired by Paris-based Galerie Doria and subsequently sold to eminent collects ors Edith and Stuart Cary Welch. The other four chairs remain in private collects ions of unknown location. The present chairs are not only imbued with the exciting history of one of the most striking works of modern architecture, but they are also an important manifestation of Eileen Gray’s unique approach to furniture design.