Gilbert POILLERAT (1902-1988)

Gilbert Poillerat first studied at the Ecole des Beaux-arts in Paris, before changing direction to concentrate on engraving and ironwork at the Ecole Boulle. At nineteen he decided to focus exclusively on decorative ironwork. His tutor was Edgar Brandt. Poillerat contributed anonymously as draughtsman to a number of works that Brandt presented at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in the prestigious Pavillion du Collectionneur created by Emile Ruhlmann and Pierre Patou. It was in 1927, when he joined the new department devoted to creative ironwork in the lift-makers and metal construction company Baudet, Donon and Roussel, that Gilbert Poillerat began to present work under his own name. Some of these pieces were exhibited at the Salon d’Automne of 1928. The return to the curve got under way in the late 1920s and marked the decorative style of the ‘30s and ‘40s. In the 1930s, Gilbert Poillerat’s style became much less complicated, while retaining elements of fantasy and humour: imprisoned figurines and plant motifs, naïve scenes, decorative objects and even make-up jewellery. He was, however, primarily involved in the creation of the monumental constructions that marked the period: state commissions he received included the doors of the Palais de Chaillot and the railings and lights of the restaurant in the Eiffel Tower. He also created balconies, majestic staircases and balustrades for private residences. Poillerat collaborated regularly with interior designers such as Jacques Adnet, André Arbus and Jean Pascaud.
Gilbert Poillerat participated in the Salon des Artistes Décorateurs as well as in numerous national and international shows including the Exposition Coloniale in 1931 and the Exposition des Art et Techniques in 1937, Paris.
In 1946 Poillerat became a professor at the Ecole des Arts Décoratifs, and undertook numerous official commissions for the Hôtel Matignon, the Elysée, and the new synagogue in Strasbourg, for which he designed the claustra and entrance.
Both before and after the war he also created classically elegant lights, tables and consoles for rich private clients. During the 1960s, his work became much simpler and he often used bronze to create clean forms that suited the mood of the time.
Gilbert Poillerat’s extremely personal creative style, the technical perfection of his work and the sense of harmony and poetry that emanates from his pieces all underline his worthiness of the title of most significant French ironworker.
His work is present in numerous prestigious private and museum collections.