Ilmari Tapiovaara (Finland 1914-1999)
Laukaan Puu. Finland 1950s
Stained pine. [Two with burnished manufacturer’s markings].
Three rare modular book shelves designed as part of a complete storage system.
Franz Schuster (Austrian 1892-1972)
Modernist table designed by Viennese architect Franz Schuster during his time in Frankfurt as part of his Aufbau Möbel Programm (construction furniture range or ‘add-on-furniture’), which was furniture conceived as combination furniture for contemporary social housing.
In the mid-1920s, the Viennese architect and furniture designer Franz Schuster was called to Frankfurt together with other Viennese colleagues, including Margarete Schütte-Lihotzky. There Ernst May valued his expertise in the field of housing development. (Under the direction of Adolf Loos, he contributed to the design of several Vienna single-family housing estates and developed prototypes for residential houses and the so-called residential courtyards that still shape Vienna’s cityscape today). .
In Frankfurt, Schuster designed apartment buildings, schools, cinemas and swimming pools. But mainly he designed functional and space-saving type furniture for the compact housing estates and apartments of New Frankfurt.
Originally designed for Frankfurt settlements, the “add-on furniture” – forerunner of the modern Ikea system – quickly became well known and was sold well beyond the city limits until the 1930s / 65cm x 65cm x 50cm.
Jan Slothouber & William Graatsma (Dutch c20th+)
Five rare modular cubes from the 1970s.
The Dutch artist/designer team of Slothouber & Graatsma established themselves from the 1950s as artist/designers with the cube form as their key motif around which they developed various principles of cubic construction alongside multiples and variations thereof. Despite its restrictions they admired the cube for its clarity of form. They applied their thinking around it to a variety of objects, and artworks from small jewellery-scale 3d models and games to larger installation works.
Highly driven personalities, they considered themselves as discoverers of ‘the many applications of the democratic system of cubics’; a system that would ostensively act to counter the rise of the expressive individualism in post-WWII culture. (They later established the CCC_the Center for Cubic Constructions as a forum for promoting their ideas).
Due to their diverse and multidisciplinary output they were never to become global names – But they were a highly respected creative team (representing The Netherlands at the Venice Biennale in 1970)…Donald Judd for one was a great admirer of their work.