Five very beautiful Matteo Grassi cantilever chairs in black are sold here. This is the MG 5 model in which the leather surface is closed, i.e. the seat and backrest are connected to each other. This not only looks particularly elegant, but also offers a high level of seating comfort. The saddle leather is of very high quality and has normal age-related signs of wear, giving it an authentic and beautiful patina. All in all a very good vintage condition. The chairs are embossed on the back.

Vintage Gold Lloyd Loom Chair. Vintage Lloyds Loom occasional chair, original gold finish. Dimensions: 54cm wide x 62cm deep x 41cm seat height x 79cm back height. Seat 44cm x 44cm. Condition: Overall good solid condition, general age and signs of use, missing two of the brass caps on the feet.

Emmanuelle armchair in peacock patterned rattan, original variation of the Emmanuelle armchair. Stylized patterns of peacock feathers. Excellent condition, no defects noted, good quality of the rattan, solid and stable. Total height: 1m60; Total depth: 60cm; Total width: 1m15; Seat height: 45cm; Seat depth: 48cm.

Beautifully linen safari chairs. These have a beautiful linen seat and back. We are not sure about who made these chairs. But they are a perfect example of quality chairs. These were probably made in a Scandinavian country such as denmark. The linen is in good condition with normal signs due to it’s age.

Sculptural qualities define this object. Its form is a combination of solid shapes and negative spaces in an expressive dynamic. The relationship between them ensures a balanced composition. The careful alignment and proportions create an equilibrium, giving a sense of coherent design. Both tension and harmony create a unity.

The piece has a complex shape which is presented through a grid-like structure of wooden beams which carry the solid parts. This way, both free spaces which are a subject of their own and a significant part of the composition, stand together in a stiff, but however, playful expression with the solid parts. In spite of its rigid structure, the item appears light, due to free spaces between the elements. The piece is in its original condition, so all parts are authentic. They are done in massive beech wood. Apart from the drawers, the piece has inside shelves hidden behind pivot doors. ‘Elling’ Sideboard was designed 1919 and executed just two years after the introduction of Gerrit Rietveld’s famous Red-Blue chair. He debuted this extraordinary table in oak. It was displayed in 1920 at the Voor de Kunst in Utrecht and purchased there by the Dutch architect Piet Elling (1897-1962). This early example was tragically destroyed in a fire. The model was re-introduced in 1958 and made in a very limited quantity by one of Rietveld’s most trusted cabinetmakers, Gerard van de Groenekan (1904-1994). Gerard A. van de Groenekan began working in Gerrit Rietveld’s workshop in Utrecht in 1917 at the age of fourteen. In 1924, Rietveld decided to concentrate on architecture and left furniture production in the hands of van de Groenekan, who then continued to build many of Rietveld’s models, including older ones, under his own name. Van de Groenekan played a decisive role in the development of many designs. I think this piece blends well with many interior styles. Due to its complex shape, it proudly stands in any interior space.

Literature:

Daniele Baroni, ‘The Furniture of Gerrit Thomas Rietveld’ (B E S Pub Co, 1978), 39, 54-55.

Peter Voge, ‘The Complete Rietveld Furniture’ (Rotterdam: 010 Uitgeverij, 1993), 10, 15, 52-53.

Marijke Kuper and Ida van Zijl, ‘Gerrit Rietveld: The Complete Works 1888-1964’ (Utrecht: Centraal Museum Utrecht, 1992), 78-79.

Provenance: ‘Modern collector: Design, Tiffany Studios, and property from a Pacific Island connoisseur’ auction, 2023.

This “How High the Moon” armchair was designed in the style of Shiro Kuramata.

Originally designed for Vitra in 1986.

with steel mesh, a material so less used in traditional Japanese design, the classic upholstered armchair is reimagined in an almost dematerialized way.

Here, Shiro Kuramata plays with form and function. The chair has no frame or support, is light and transparent but cold and strong, and serves as both a piece of furniture and a work of art. The reflective quality of the steel mesh intensifies this effect. Its fragile appearance raises questions about its ability to support human weight, thereby challenging the chair’s definition of functional furniture.

Through this work, Kuramata reassembles one of his main themes throughout his career: “freeing from gravity.”

Postmodern design at its best, “How High the Moon” offers a philosophical meditation on the chair’s form.

Pair of Josef Hoffmann chairs for Thonet Czech Republic N 811
Bentwood chairs with rattan mesh seat

These two are in perfect condition.

Nordic style armchair manufactured by the Spanish manufacturer Guilleumas in the 60s.
Restored wood with lacquer finish.
Upholstered with gray fabric.
Ideal as an armchair but also to use as a dining chair.

Louis XIII armchair reupholstered oak wood.