Our paths first crossed, unknown until many years later, at an intimate yet bustling wedding reception in a south Chicago apartment. This was probably 30 years ago, perhaps even the same year a new gallery, Torno Wright, opened at the end of my street to a fanfare of Eames, heralding new changes to come. Criss-crossing breezes of chance encounters, meandering spirits, hazy focus of time and space, of enthusiasm and knowledge sought, now united again in the same city.
That same serendipity, prompting impulse and discovery, guided welcome reward in the crucible of that great industrial city, still littered with the artefacts of the American mid-century. It was within this uneven yet fertile terrain, hidden slightly below surface, that Patrick’s intuitive talent—honed first as photographer then embellished as artist—would treasure the valuable neglected as passionate collector, and then as the inspirational dealer that I was to meet again, years later in New York City.
If asked to select one word to describe Patrick, I would resist and pick two. The first would be curiosity—a fundamental essential, to stimulate inquiry and rigour in all things, both great and small, of any era or region, type or surface. Even the most fleeting survey of this selection for sale is a celebration of innovation and of inspiration—an unerring eye for the unusually exceptional, or perhaps the exceptionally unusual. The chances are, that these are indeed discoveries that you have not yet realized that you needed to make.
Mentor, would be my second word. If artefacts and objects articulate visual, cultural and historic language, then the fluency of skillful mentorship—to guide, nurture, describe and explain—releases the eloquence of murmuring histories. In this capacity Patrick is that most earnest and sincere of excellent narrators. If ever I had friends, clients or colleagues visiting New York looking for unusual inspiration, there was always the certainty that Patrick’s gallery would offer them a glimpse of the hitherto unseen or the unusually seductive, always with the reassurance of the most fascinating story waiting to be told.
Mentorship and curiosity, when balanced in equal measure, reveal the precious alchemy of a curator. And it is the duty of the mature curator to discern and detect, to cultivate change, and from there to pioneer, and to share. Innovation is never static, and the Present is already the Future. Fresh dialogs evolve, energies to be nurtured, opportunities to be guided. Renewed and re-orientated, Patrick now faces fully forward—as benefactor, interlocutor and mentor to a new, inquisitive generation of talented creators, and the quest for discovery rejuvenates.
— Simon Andrews
andrewsartadvisory.com
Le Corbusier 1887–1965
Le Corbusier was born Charles-Édouard Jeanneret in 1887. As a child, Le Corbusier worked in his family’s trade of clock making. In 1917, he moved to Paris where he founded the artistic movement of Purism, and began publishing a manifesto under the pseudonym “Le Corbusier.” Later abandoning Purism to focus on architecture, Le Corbusier opened a design atelier with his cousin Pierre Jeanneret in 1922.
To Le Corbusier, houses were “machines for living in,” and he strove to make streamlined structures with function as their primary aim. Le Corbusier was among the first architects to champion textured concrete, as exemplified in his creation of the Unité d’habitation, a brutalist yet colorful residential housing structure in Nantes-Rezé. Le Corbusier believed that through design, he could create a utopia for the new age. In 1947 he received the opportunity to realize his vision of a modernist cosmopolitan center with the commission to design the entire city complex of Chandigarh, India. Le Corbusier worked with his cousin, Pierre Jeanneret on the creation and design of Chandigarh from 1947 until his death in 1965, and the city remains exemplary of Le Corbusier’s utopian goals for architecture.
Auction Results Le Corbusier
