p1150604

Poul Kjærholm (Denmark, 1929-1980)

PK9 Chairs – E. Kold Christensen, Denmark

chrome steel; leather

Kjærholm designed the ultimate functionalist furniture that was praised for its understated elegance and clean lines.

Kjærholm had a particular interest in various construction materials; especially steel, which he considered a natural material. In 1955, Kjærholm started collaborating with manufacturer E. Kold Christensen, which lasted until his death in 1980.

The PK9 series consist of splayed-legged bases on which a shaped seat is fully upholstered in black leather.

These are early edition chairs marked with the KC monogram and stamped Denmark.

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Poul Kjærholm (Denmark, 1929-1980)

PK31 Chairs – E. Kold Christensen

chrome steel; leather

Kjærholm designed the ultimate functionalist furniture that was praised for its understated elegance and clean lines.

Kjærholm had a particular interest in various construction materials; especially steel, which he considered a natural material. In 1955, Kjærholm started collaborating with manufacturer E. Kold Christensen, which lasted until his death in 1980.

The PK31 series rest on a matt chromium-plated spring steel base. The down-filled cushions are covered in your choice of leathers.

Both chairs are marked with the KC monogram and are in very good condition. The cushions are replacements professionally made in the 1980s.

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p1200571

Yrjö Ilmari Tapiovaara

(Finland, 1914-1999)

Manufactured by Laukaan Puu Finland, late 1950s.

A dark varnished Pine and beech wood structure with green rexine doors and black painted wooden legs.

The Pirkka range by the Finnish interior architect and designer Ilmari Tapiovaara is one of the most popular Finnish furniture ranges qualifying with an almost cult status in the mid-century modern markets. The Pirkka range was designed by Ilmari Tapiovaara in 1955 and it alludes to the forms of Finnish rustic furniture.

With the mind of an explorer and soul of a craftsman, Ilmari Tapiovaara was always seeking for new solutions to improve everyday objects. Tapiovaara is especially revered as a modernist master of characteristic, human objects and surroundings.

Although Pirkka series furniture is fairly common to find, the sideboards are what can only be described as ‘rare as hen’s teeth’; possibly one of the rarest of Tapiovaara’s designs.

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Ref: Svenskberg, Aila (ed.): Ilmari Tapiovaara: Life and Design. Translated by Jüri Kokkonen. Helsinki: Designmuseo, 2014

 

Marcel Breuer (Hungarian, 1902-1981)

Isokon Long Chair (early 1960s production) – Upholstered plywood

The Hungarian-born, modernist architect and furniture designer was one of the masters of Modernism. Breuer extended the sculptural vocabulary he had developed in the carpentry shop at the Bauhaus into a personal architecture that made him one of the world’s most popular architects at the peak of 20th-Century design.

Breuer came to Britain in the mid-1930s following the closure of the Bauhaus by the Nazis. He became acquainted with Jack Pritchard the owner of Isokon, who suggested he design furniture for the company. Pritchard had become interested in the plywood designs of Alvar Aalto and wanted to produce similar furniture himself. The Long Chair was an adaptation of a previous design for an aluminium framed chaise Breuer had produced in 1932.

The Long Chair was designed by Breuer for the British Isokon company in 1935-36 and is considered one of the most important pieces of furniture to emerge from the inter-war modern movement.

In 1968, Pritchard licensed John Alan Designs, based in Camden, London to produce the Long Chair – John Alan manufactured the chair according to larger measurements in order to make the chair more 60s-friendly. This chair is thought to pre-date that period as it still retains the older smaller measurements. The upholstery is showing distinct signs of age and use.

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P1220502

Mart Stam (Netherlands 1899 – 1986)

Rush seated oak chairs

Van Der Kley, Badhoevedorp, Netherlands 1947

Stam was a Dutch architect, urban planner, and furniture designer. He was extraordinarily well-connected, and his career intersects with important moments in the history of 20th-century European architecture, including chair design at the Bauhaus, the Weissenhof estate and the Van Nelle Factory, an important modernist landmark building in Rotterdam, buildings for Ernst May’s New Frankfurt housing project then to Russia with the idealistic May Brigade, to postwar reconstruction in Germany. Stam was at the centre of c20th Modernism.

This set of four dining chairs were created for the “Goed Wonen”* .

*The Good Wonen Foundation in Amsterdam from 1946-1968 (The ‘Foundation Wonen’ until 1988) set itself the goal:

Living in the Netherlands to a higher level by improving the home furnishing in the broadest sense of the word, by promoting the production and distribution of furniture, upholstery, utensils, etc., which meet certain aesthetic, technical and social requirements .
An oak smoke chair is wrong; Rattan furniture are good. Flower wallpaper and heavy curtains are wrong; White walls and fresh shades are good!

The foundation wanted to free Dutch interior from the foul taste of the previous century. “Taste is a matter of education” was the idea behind the founding of the foundation in 1946. As a magazine and with model houses the foundation promoted the modern interior with light furniture – In this way the residents could maximise the potential of their environment and ultimately realise their own potential.

The ideas fitted well to the ideals of modernism; improving homes and furnishings as well as the people within them and society as a whole.

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p1180365

Jan de Jong (Netherlands, 1917-2001)  / Dom Hans van der Laan (Netherlands, 1904-1991)

Two prayer benches – Original Grey/Green stained wood.

During the reconstruction period after WWII the Dutch architect Jan de Jong and the Dutch Benedictine monk Dom Hans van der Laan collaborated on several architectural projects including the interior furniture. They created an outstanding body of work in the style of the Bossche School. Jan de Jong was able to translate many of Dom v.d.Laan’s idealised concepts and ideas into pioneering buildings and spaces. They worked in such close collaboration however that it is difficult to discern the individual level of input into the furniture they designed. The artist Wim van Hoof worked with the two architects proposing different colour schemes for their projects. The original olive green surface visible on these prayer benches was one of those schemes.

Dom Hans van der Laan (1904-1991) was a Dutch Benedictine monk and architect. He was a leading figure in the Dutch ‘Bossche School’. His theories on numerical ratios in architecture, in particular regarding the plastic number, were very influential.

Jan de Jong (1917-2001) was a talented craftsman-architect and student of v.d. Laan and it is claimed that in many way he surpassed his mentor.

These prayer benches are part of a collection of furniture that we have acquired. They were made for Sint Willibrordus church in Almelo in the 1960s (full provenance including photos of the pieces in-situ. is available). The church was one of the best examples of modernist churches of the era. Unfortunately it was knocked down in 2005.

http://www.vanderlaanstichting.nl/en/domhansvanderlaan/biography

What I do, I do not want, and what I want, I can not do” [Dom Hans v.d.Laan]

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p1210335-copy
Wim Den Boon rush seated side chair 1950s

 

W.(Wim) Den Boon

(Netherlands, 1912-1968)

Ash wood with strung rush seat

The Dutch architect Wim Den Boon alongside Hein Stolle and Pierre Kleykamp formed the ‘Group&’ in the period shortly after WWII as part of the Dutch ‘Goed Wonen’ (Good living) movement. They focused on designing purist interior furniture and design that fitted in seamlessly with the functionalist designs of the thirties.

By the 1950s Den Boon broke with ‘Group &’ and established himself as an independent furniture designer in The Hague.

At his best Den Boon designed some of the most futuristic interiors during the 1950s. His furniture is rare to find and most of it can only be experienced through photographic documentation. This actual chair is shown next to a large table in the interior of Den Boon’s own residence in Peter Vöge’s 1989 book.

The design of this chair was inspired by traditional English spade chairs. The back rest/handle having a form similar to a garden spade. The design also shares many formal and conceptual elements with French and Scandinavian modernist designers of the period such as Charlotte Perriand and Pierre Jeanneret.

Literature: W. (WIM) DEN BOON. 1912 – 1968. PUBLICATIONS: P. Vöge – Wim den Boon 1912-1968. Binnenhuisarchitect, Rotterdam 1989

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