A modernist table composed of an eight section chrome plated frame supporting a wooden table top.
The B10 table was designed by Marcel Breuer in 1927 for his own company Standard Möbel, and since 1930 the design has been manufactured by Thonet under the same designation. This is an early production circa 1930s (although the top has been restored at some point) The colour is a very pale blue/green. There is no Thonet company badge/label.
Unknown designer/maker, this cabinet came from the town of Laren in the Netherlands – Coincidently a district where modernist designers like Bart van der Leck and JJP Oud were living at the time when this was made.
Between 1925 and 1955 influenced by the Dutch Modernist De Stijl painters and designers Ko Verzuu designed many children’s toys. His designs were inextricably bound up with innovations in art, health care and pedagogy in the first half of the 20th century. In 1920, the sanatorium Berg en Bosch was founded in the sanctuary on the outskirts of Apeldoorn. This sanatorium offered rest and care to tuberculosis patients.
Once patients had recovered from their illness, returning to regular working life often proved to be difficult. In order to prepare patients better for their reintegration, the sanatorium developed a modern treatment: occupational therapy.
One of the ways this took shape was in the production of wooden toys. These toys were given the name ADO; an abbreviation that initially stood for Arbeid door Onvolwaardigen (Labour by the Deficient), but was wisely changed to Apart Doelmatig Onverwoestbaar (Special Functional Indestructible) in 1962.
These chairs are examples of the more seldom seen larger scaled furniture made by ADO.
The Dutch designer Wim den Boon designed this pair of chairs in 1954 as a commission for a home in Reeuwijk, in South Holland [purchased directly from the family]. __These are the two remaining chairs of the actual four pictured in Peter Vöge’s book on Wim den Boon [Vöge,1989;p.22]. Although the design never went into production, the chairs exemplify the lasting influence of Gerrit Rietveld and early modernism during the reconstruction period after WWII when Dutch designers continued to experiment and employ a strict/pared-down use of materials and techniques for the cost effective mass-production of furniture.
Bossche school architect Gerard Wijnen attended classes given by Hans Dom van der Laan in the 1960s. Wijnen was not a prolific designer and his furniture was only made through commission from the architect which accounts for its scarcity.
Wijnen was photographed sitting on one of these chairs as can be seen in the photograph from the ‘s-Hertogenbosch town archives collection.
In the reconstruction period after the second world war, the Dutch architect and furniture designer Hein Stolle experimented with new materials and techniques for the cost effective mass-production of furniture. As a furniture designer, Stolle was a member of Groep & (which comprised Wim den Boon, Hein Stolle and Pierre Kleykamp, 1946-1950). In the early 1950s Stolle designed furniture for the distinguished department stores de Bijenkorf and Metz & Co, often in cooperation with Martin Visser. And in the 1950s and ‘60s he also designed various pieces of furniture for furniture factory ’t Spectrum.
Unique modernist wall cabinet was made for a 1953 exhibition Ons Huis, ons t’huis, (Our House, us at Home) held at De Bijenkorf warehouse in Amsterdam. The cabinet was exhibited at Wonderwood gallery’s exhibition of Stolle’s work in 2004 shortly before his death.