P1230803

Bas van Pelt (Netherlands, 1931-95)

EMS, My Home. 1930s

Bas Van Pelt design modernist chair/ possible prototype and if not, a very rare design.

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.

POA.

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P1230778

HWM (Henk) Hupkes (Netherlands 1920-2014)

The Dutch architect Henk Hupkes designed very few pieces of furniture. Most of the furniture he designed was for the twenty or so churches he designed throughout his lifetime.

This chair was designed by him in the 1966 for the Verzoeningskerk in Rijswijk. It is made from oregon pine

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P1230679

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

Galvanised metal crucifix/ Candelabra. Circa 1960s. 264cm High.

Stamped and dated 02/81.

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 defining the 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.

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.

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P1180902

Dutch modernist reception desk. Circa 1930s-50s.

Painted steel. Beech wood slats and composite stone top.

The exact provenance of this desk is unknown but it reputedly came out of a shop/store in Amsterdam during the mid-c20th. It has affinities with Gerrit Rietveld’s designs of the era.

It shows signs of age and use – the rubber stops are very dry and worn, the steel has old over painting.

Some minor sympathetic restorations.

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0AECA8B6-0E3B-4B74-8768-9002B2115B96

Dutch modernist work desk

1930s. Designer/ manufacturer unknown.

We are currently researching this desk. It has similarities to the Dutch Pander furniture company. Gerrit Rietveld was also reputed to have designed a few private commissions in bright colours.

It has its original paintwork that has faded in places to a tangerine/ coral colour. It has a grey/green cloth top surface. It shows some signs of age and use as would be expected and would benefit from some TLC.

Currently not for sale.

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Gerrit Rietveld (Dutch 1888-1964) style / attributed shelving unit
Dutch 1930s – Modernist shelving unit.
provenance: Johanna Erna Else Schröder (1918 – 1992)
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Johanna Erna Else Schröder (known as Han Schröder) lived in the  in Utrecht, the Netherlands, together with her mother, Truus  Schröder- Schrader who was also an interior decorator. The house was designed in 1924 by Gerrit Thomas Rietveld who became a friend of Schröder’s and an important influence on her future work. While a teenager, she worked on furniture design with both Rietveld and with Gerard van de Groenekan. In 1936, she attended the  Federal Institute of Technology in Zurich Switzerland, graduating as an architect in 1940.
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This small De Stijl / Art Deco / Modernist shelving unit was previously owned by Han Schroeder /Schröder. After the death of Han the family auctioned off her belongings including this table. It is possibly a Gerrit Rietveld design – although a definite attribution can not be given.
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P1220016

H.Fillekes (c.20th Netherlands)

Artiforte, Netherlands

Magneto Lamp 1954-58 Lacquered steel.

This rare ‘Magneto’ floor lamp was only produced for a short period in limited numbers. Its name refers to the magnetic ball that attaches the counter-balanced stem to the tripod base. The result is a very elegant functional and sculptural piece in the spirit of the postwar period.

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