A Pierre Jeanneret Writing Chair, dating from 1962 and originally from Panjab University, Chandigarh. Constructed from solid Burmese teak with a cane seat and back, this is one of our favourite Jeanneret chair designs and a model we have always particularly enjoyed handling.

There are numerous variations of the Writing Chair within the Chandigarh furniture programme, with differences in the proportions, writing tablets, arms and storage arrangements. For us, this is the most aesthetically pleasing version. The chair has a relatively small writing tablet, a short arm to the opposite side and no shelf beneath the seat, leaving the structure unusually open and visually light.

The asymmetry is a large part of its appeal. Viewed from one side, the projecting writing tablet becomes the dominant element; from the other, the chair has an altogether different profile. There is something almost unexpected about the balance of the chair, yet the different elements sit together remarkably well. For us, there is a certain magic to the asymmetry that is difficult to appreciate fully until you walk around the piece.

As collectors ourselves, we have been looking for a left-handed version of this chair for many years and have never come across one. Whether examples were produced we cannot say with certainty, but if anyone has seen one, or has one in their collection, we would be very interested to hear from them.

The construction is unmistakably Jeanneret. The solid teak frame is supported by strongly splayed compass-form legs, while the seat and back are held within substantial rectangular teak frames. The small solid teak writing tablet projects from one side, supported by the continuation of the front leg, creating a strong diagonal through the side elevation of the chair.

The original writing tablet has developed a wonderful surface through decades of use. Scratches, marks and variations in colour remain clearly visible across the teak, providing a very tangible record of the students who used the chair. A faint institutional marking also survives on the back of the frame.

Institutional patina on school furniture can be especially strong, and this chair is a very good example. Schools and universities were an important part of the Chandigarh project, not only as places for which furniture was designed, but as part of the wider architectural and civic programme being created for the new city. Pieces such as this were not conceived as precious objects; they were practical furniture intended to be used every day, and the accumulated surface of this chair tells that story particularly well.

The Burmese teak has developed a warm, varied colour throughout, with scratches, dings, dents and marks retained as part of its history. We have deliberately preserved this surface rather than attempting to make the frame appear newly restored.

The chair has been carefully restored by our trusted conservator and is structurally solid and entirely usable. As is almost always necessary with Chandigarh seating of this age, the cane to the seat and back has been replaced. The new handwoven cane has been sympathetically aged so that it sits comfortably alongside the original teak rather than appearing stark or newly fitted. The restoration has concentrated on preserving the original timber, construction, markings and institutional patina.

For us, this chair encapsulates much of what makes the Chandigarh furniture so interesting. It is architectural but practical, unconventional without being complicated, and the evidence of its institutional life remains clearly visible. If someone wanted to own just one piece of furniture from Chandigarh, we think this would be a very good choice. It is immediately recognisable as part of Jeanneret's work for the city, while the writing tablet and asymmetrical construction give it a sculptural presence quite different from a conventional armchair.

We have specialised in Pierre Jeanneret furniture for nearly nineteen years and have extensive experience in identifying, sourcing, restoring and selling his work. Given the number of later reproductions and incorrectly attributed pieces now on the market, we understand the importance of provenance, construction, materials and restoration when assessing Chandigarh furniture. We are always happy to discuss these aspects in detail and answer any questions regarding the attribution, provenance or restoration of our Chandigarh pieces.

Viewing is warmly welcomed at our West London showroom.

High-resolution photographs, detailed condition reports and video inspections are available upon request.

We offer local, national and international shipping.

Please contact us for further information or to arrange a private viewing.