Installation view of Masterworks, January 8 - 29, 2018


Installation view of Masterworks, January 8 - 29, 2018


Flying Carpet Daybed and stainless-steel and amethyst low table at the Galerie Maison et Jardin in an exhibition organized by Jean Dive, Paris, May 1968. Reproduced in Plaisir de France, No. 10. Jan. 1969.

Maison Française. May 1968.


Maria Pergay
Lit Tapis Volant / Flying Carpet Daybed, 1968
Stainless steel, foam, fabric, castors
12.6 x 117.13 x 39.37 inches
32 x 297.5 x 100 cm
Mattress size: 9.84 H x 31.5 x 77.17 inches
25 H x 80 x 196 cm
Collection of the Artist

The Flying Carpet was Pergay's first design with stainless steel

Favardin, Patrick, and Guy Block-Champfort. Decorators of the 60s-70s. Translated by Eileen Powis, Éditions NORMA, 2015. Similar example reproduced p. 11. Print.

Demisch, Suzanne and Stephane Danant. Maria Pergay: Complete Works 1957-2010. Bologna, Damiani, 2011, pp. 101-104, numbered 15. Print.

Demisch, Suzanne. Maria Pergay: Between Ideas and Design. New York, Demisch Danant, 2006. Similar Examples reproduced pp. 29, 31, 37. Print.



Maria Pergay, Flying Carpet Daybed, 1968

The Flying Carpet Daybed ... I’ve got no idea where it came from. I had a dream and when I woke up I remembered the object clearly. When I told my assistants I wanted a flying carpet, they thought I was mad. I drew a flowing, undulating, 3 meters long line in chalk on the wall.
–Maria Pergay

The Flying Carpet Daybed was the first the piece of furniture that Pergay made out of stainless steel and has since become one of the most iconic pieces of the 20th century. Pergay continued to design in metal—and other materials—passionately bending and welding into shapely submission. Despite the absence of a formal artistic agenda, Pergay has maintained a consistent core vision throughout her career. She works in broad strokes, concentrating on the physicality of ideas rather than details and having pioneered the use of stainless steel in furniture, she ceaselessly challenges the inherent limitations of her primary material. Moreover, Pergay introduces and re-introduces the same themes and motifs as though they are part of her creative pro­cess that has not been concluded.

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