Elmar Berkovich (Dutch 1897-1968)
‘Beek’ side table for Spectrum furniture (t’Spectrum)
Designed in 1956 and manufactured for only two years.
The table has been restored.
Bas van Pelt (Netherlands, 1900-1945)
EMS, My Home. 1930s
Bas Van Pelt design modernist chair – The chair has been confirmed by the Bas van Pelt archives as being as a possible prototype and if not, a very rare design. Bas van Pelt often designed experimental furniture to place in the shop window and would only have the designs produced when the appropriate number of orders were received.
Bas van Pelt began his shop ‘My Home’ in The Hague, Netherlands in 1931 and within a short period the company opened showrooms in other cities such as Maastricht and Amsterdam. The domestic interior design firm focused on producing high-quality modern interior furniture. Eventually right up until into the 1990s Bas van Pelt furniture and fabrics were also sold throughout The Netherlands and beyond by well-known modernist suppliers and manufacturers such as Thonet, D3, LOV and Gispen.
Hein Stolle (NL. 1924 – 2006)
Small ‘Stolwijk’ table. Plywood and steel – Original paint.
Spectrum furniture. 1954-55
Produced for a limited period only. This rare table was designed by Hein Stolle.
Stolle was a Dutch architect and furniture designer. From 1946-1950 he was a member of the Groep &, alongside Wim den Boon and Pierre Kleykamp and during the early 1950s, in collaboration, with Martin Visser he designed furniture for the department stores de Bijenkorf and Metz & Co.
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.
Marcel Breuer (Hungary/usa 1902-1981)
Two stacking cream white lacquered plywood side tables. Isokon UK.
Designed by Breuer in 1936 Breuer whilst living in the UK – At that time he began to explore plywood as a material. During that period Breuer designed several classic modernist pieces that were put into production by Jack Pritchard of Isokon. We believe that these are a 60s production by John Alan. London.
Manufactured in the 1950s/60s.
Please note: We also have one other single table available – The table is a similar size to the larger one (…but is not the third one to the set) We believe that they were purchased from John Alan company in London in the 1960s where they sold individually (we have a John Alan pamphlet from the period to show this).
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Oliver Bernard (attrib.) UK. early c20th.
SP4 desk chair. PEL furniture (Practical Equipment Ltd.). 1931-32.
The design was adapted from Thonet’s 1928-9 ss33 design (attributed to Hans & Wassili Luckhardt). It retains its original green rexine upholstery and has the metal PEL badge.
Poul Kjaerholm (Denmark, 1929-1980)
Pk101 candelabrum for Kold Christensen. 1956.
Brushed steel. Stamped ‘Denmark’. According to Michael Sheridan’s catalogue raisonne on Kjaerholm, the double-helix design of the PK101 illustrates Kjaerholm’s desire to emulate abstraction and economy of form found in the plant kingdom. The thin steel rods attached to the central tube exploit the high tensile strength of steel to reduce the rods to their minimum diameter. The rods were threaded at both ends in order to support a set of rings sized to fit the typical Danish candle commonly used at Christmas.
Together with this candelabrum we are including a set of small ball shaped candles with an extending section to fit the rings of the candelabrum – The candles are designed by Timo Sarpanava.