Sacha Ketoff designed the W&O lamp in 1985 as part of the competition for the creation of office lamps organised under the aegis of the Agence pour la Promotion de la Création Industrielle (APCI), of which he was the winner. This competition was intended to support creation and was part of a policy to link art and industry. Shown for the first time as part of the exhibition Lumières, Je pense à vous, this lamp was clearly distinguished by its singular form, derived from its functionality...

The Diamond chair, with its point-welded steel wire structure, is the result of studies conducted by the sculptor Harry Bertoia on form, space and volume. For Bertoia, the approach to designing a chair was the same as that to designing a sculpture. Space runs through them," he said, "and if you look at them carefully, you can see that they are made of air, just like sculptures. The Diamond chair, created in 1952, remains an icon of mid-20th century design...

In the conquest of the secret of hard porcelain manufacture, Strasbourg was the outpost of this technical and aesthetic revolution that was taking place in the mid-18th century. Totally committed to the process, the potter Paul Hannong invented new moulds and new designs. However, while waiting for the royal letters patent that would make him a porcelain manufacturer, his new-style projects were executed in earthenware, such as this extraordinary covered terrine with a grand feu decoration...

This chair, rediscovered in the 1980s, is attributed to Robert Mallet-Stevens (Paris 1886 - Paris 1945): a similar one appears in a photo of the kitchen of the villa of M. Cavrois, in Croix near Lille, for which the architect designed the project and the entire layout. The huge villa was commissioned in 1929 and delivered in 1932.

It owes its emergence from anonymity to the interior designer Andrée Putman, who in 1978 created the Ecart agency and reissued rare pieces from the 1930s and 1940s. The chair she edited was based on the Villa Cavrois model in various colours, black and white. It was then seen in several of Andrée Putman's projects, such as the CAPC in Bordeaux in 1984, when it was refurbished by Valode & Pistre and the Ecart agency. The finish chosen for the CAPC is an anthracite grey epoxy lacquer.