A pair of ‘Drape A’ cabinets, 2005, by Maria Pergay, in stainless streel, ebony macassar and palm wood, on show at David Gill Gallery. Courtesy of Demisch Danant

In the annals of 20th-century design, the most prominent and widely-known works tend to be created by men, with just a few exceptions. Maria Pergay’s work is one of these, having exploded onto a male-dominated design scene in the 1970s with her pioneering stainless steel furniture. A back catalogue of the Romanian-born, France-based designer is currently the subject of a retrospective show, named ‘Iconic’, at David Gill Gallery.

在20世纪的设计史册中，最著名和最广为人知的作品往往是由男性创作的，只有少数例外。玛丽亚·佩尔盖的作品就是其中之一，在上世纪70年代，她的先锋不锈钢家具在男性主导的设计舞台上爆发。这位出生在罗马尼亚、法国的设计师的背面目录，目前是大卫吉尔画廊一次名为“标志性”的回顾展的主题。

The pieces on show span six decades, charting Pergay’s work from the 1960s up to the hand-sculpted bronze, stainless steel and inlaid chestnut wood ‘Marronnier table’ produced in 2015. The exhibition seeks to demonstrate Pergay’s ability to transform stainless steel, a material perceived as industrial and cold, into flexible and supple forms.

从20世纪60年代到手工雕刻的青铜、不锈钢和镶嵌的栗木“Marronnier表”，于2015年生产。该展览旨在证明Perigy能够将不锈钢、被视为工业和冷的材料转变为柔性和柔软的形式。

Having emigrated to France from Moldova during the war at the age of seven, Pergay (who still works today at the age of 87), the studied at Paris’s Institut des Hautes Études Cinématographiques (IDHEC) where she specialised in costume and set design. At the same time, she attended the Académie de la Grande Chaumière – an art school in the bohemian Montparnasse district of Paris.

在7岁的战争期间从摩尔多瓦移民到法国，Peragay（目前仍在87岁的时候工作），在巴黎的巴黎研究所研究了她在服装和布景设计方面的专长。同时，她参加了巴黎波希米亚蒙帕纳斯区艺术学院的阿德拉德·德拉格兰德·查姆特雷特雷。

‘Flying Carpet Daybed’, 1968, by Maria Pergay, in stainless steel, foam, fabric and castors. Photography: courtesy of Demisch Danant

1968年，在不锈钢，泡沫，织物和脚轮中，玛丽亚·佩盖伊，“飞毯日床”。摄影：德米斯·丹特的礼遇

She began her career creating ornate metal elements for window displays, which led to experiments with silver and the production of a complete collection of contemporary pieces in the late 1950s. It was these silver objects that set the tone for her boundary-breaking work in stainless steel furniture, the first pieces of which were developed in 1967 with the well known ‘Flying Carpet Daybed’ making its debut in 1968.

她的职业生涯是为橱窗陈列品创造华丽的金属元素，这导致了在20世纪50年代末，她用银做了实验，并制作了一整套当代作品。正是这些银器为她打破界限的不锈钢家具作品定下了基调，其中第一件是在1967年开发的，著名的“飞毯床”于1968年首次亮相。

Pergay, who has never belonged to a distinct design movement, is a mother of four with no formal training in furniture design or external financial support. Instead of following trends, she has consistently drawn inspiration from antiquity, Japanese art, and the innate nature of the materials she works with. While this individual approach may have meant that many of her pieces did not receive recognition until years after they were created, it has ensured that her work has stood the test of time.

佩尔盖从未参加过一个独特的设计运动，她是四个孩子的母亲，没有受过家具设计或外部财务支持方面的正式培训。她没有跟随潮流，而是不断地从古代、日本艺术以及与她合作的材料的本质中汲取灵感。虽然这种个别做法可能意味着她的许多作品在创作多年后才得到承认，但它确保了她的作品经得起时间的考验。

‘Stainless steel does not forgive,’ says Pergay of her material of choice. ‘It has authority, and it helps me not to make errors. But it also shines and glows; it hints at greater things.’

佩尔盖在谈到她所选择的材料时说：“无支架钢是不会原谅的。”它有权威，它帮助我不犯错误。但它也闪烁着光芒；它暗示着更大的事情。

‘Rainbow table’, 2010, by Maria Pergay, lacquered steel, glass plexiglass base with stainless steel. Photography: courtesy of Demisch Danant

‘彩虹桌’，2010年，由玛丽亚佩尔盖，漆钢，玻璃有机玻璃基地与不锈钢。摄影：德米什·丹南(Demisch Danant)提供

Over the years, Pergay has continued to create for her own pleasure, exhibiting and selling to clients and quietly obtaining impressive private commissions for names such as Givenchy, the Shah of Iran, Pierre Cardin, Fendi, Christian Dior, Jacques Heim and Salvador Dalí. Today her work can be found in the permanent collection of the Metropolitan Museum of Art, New York, and is displayed in private collections around the world.

多年来，佩尔基继续为自己创造乐趣，展示并销售给客户，并悄悄地为纪梵希、伊朗国王皮埃尔·卡丁(Pierre Cardin)、芬迪(Fendi)、克里斯蒂安·迪奥(Christian Dior)、雅克·海姆(Jacques Heim)和萨尔瓦多·达利·达利(萨尔瓦多Dalí今天，她的作品可以在纽约大都会艺术博物馆的永久藏品中找到，并在世界各地的私人收藏品中展出。

Pergay is by no means the first French designer that Gill has recognised with a solo show – his collaboration with Line Vautrin brought her international acclaim, culminating in the 1999 ground-breaking exhibition at the Musée des Arts Decoratifs in Paris.

佩尔基绝不是吉尔通过独奏秀认可的第一位法国设计师-他与莱恩·沃特林的合作为她赢得了国际赞誉，1999年在巴黎艺术装饰艺术博物馆(Musée des Arts Decoratifs)举办的首屈一指的展览达到了顶峰。

Gill hopes that Iconic will bring Pergay the recognition that she deserves, but has not always received on this side of the pond. ‘Synonymous with French postwar furniture design, on the international stage Pergay has been very well-received in the United States with a solo show in New York in 2006,’ said the gallery. ‘It only seems fitting that her work in design is lauded in London by David Gill with this inaugural exhibition.’ §

吉尔希望，标志性的会给佩尔盖带来她应得的认可，但在池塘的这一边并不总是能得到认可。画廊说：“与法国战后家具设计相结合，在国际舞台上，佩尔盖在2006年在纽约的独奏展上受到了很好的欢迎。”“她的设计作品在伦敦受到大卫·吉尔(DavidGill)的称赞，这似乎是很合适的。”

大卫·吉尔画廊“标志性”的安装视图，以“飞毯”为特色。DavidGillGallery对DavidGillGallery的“标志性”的安装视图，其特点是“飞毯”Daybed。DavidGillGallery的礼遇

大卫吉尔画廊的“标志性”安装视图。由大卫吉尔画廊安装的“标志性”在大卫吉尔画廊。大卫吉尔画廊提供

大卫吉尔画廊的“标志性”安装视图。图为“Ruban”椅子和Pouf，2007年，不锈钢制作。摄影：由大卫吉尔画廊提供的“标志性”在大卫吉尔画廊安装视图。图为“Ruban”椅子和Pouf，2007年，不锈钢制作。摄影：大卫吉尔画廊提供

大卫吉尔画廊的“标志性”安装视图。图为“马龙尼尔”桌，2015年，手工雕刻青铜底座，不锈钢镶嵌板栗木，玻璃顶部。大卫吉尔画廊。大卫吉尔画廊的“标志性”安装视图。图为“马龙尼尔”桌，2015年，手工雕刻青铜底座，不锈钢镶嵌板栗木，玻璃顶部。大卫吉尔画廊。