• Christies auction house James Christie logo

    Sale 12274


    26 October 2016, London, King Street

  • Lot 185


    'CINDERELLA TABLE', 2004-2007


    'CINDERELLA TABLE', 2004-2007
    the second artist's proof from an edition of twenty + four APs + prototype, CNC-cut birch plywood, 57 layers
    32 in. (81 cm.) high; 51 ¾ in. (131.5 cm.) wide; 39 ½ in. (100 cm.) deep
    signed and dated to underside

    Contact Client Service
    • info@christies.com

    • New York +1 212 636 2000

    • London +44 (0)20 7839 9060

    • Hong Kong +852 2760 1766

    • Shanghai +86 21 6355 1766

    Contact the department

    The Cinderella table was Jeroen Verhoeven's graduation piece from the Design Academy in Eindhoven. Inspired by 17th and 18th century archetypal shapes of tables and commodes he had found in the library of the Stedlijk Museum in Amsterdam, his references to the outline of an 18th century dressing table on cabriole legs, and an 18th century commode, are brought into sharp relief by their juxtaposition in a work of startling 21st century cutting-edge innovation and virtuosity.

    Verhoeven hand-drew their designs and had the outlines segue using digital rendering software, creating a fluid 3-D form from simplistic 2-D outlines which morph into one another. The virtual design was then 'sliced' and each of the 57 slices, each 80mm thick (a total of 741 layers of plywood), was fabricated by CNC (computer numerically controlled) cutting machines. The slices were assembled and the entire hollow plywood form was finished by hand. For Verhoeven "it's about attention to detail and the possibility to make something unique with a machine that is normally used for mass production".

    CAD-CAM (computer-aided design and computer-aided manufacturing) produced works would appear to negate the individualism of objects, however Verhoeven was trying to release and reveal the craft hidden with this most dynamic of production methods. It is this seamless synthesis of apparent inversions, old forms against new, history against modernity, computer design against handcraft, which make the current lot so compelling.

    Other examples of this work are in the permanent collection of many International public and private collections, including the Victoria & Albert Museum, London; The Museum of Modern Art, New York; The Brooklyn Museum; New York The Centre Pompidou, Paris; Die Neue Sammlung, Munich; and the Art Gallery of Western Australia, Perth.

    Special Notice

    Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
    These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.


    The Artist, The Netherlands;
    Private European Collection.


    Other examples illustrated:
    G. Williams, The Furniture Machine: Furniture Since 1990, London, 2006, front and back covers and pp. 110-111;
    M. Fairs, Twenty-First Century Design, London, 2006, pp. 164-165;
    T. Dixon, et al., eds, , New York, 2007, p. 123;
    S. D. Coffin, et al., eds, Rococo: The Continuing Curve, 1730-2008, New York, 2008, p. 273;
    G. Williams ed., Telling Tales: Fantasy and Fear in Contemporary Design, London, 2009, illustrated p. 73;
    G. Adamson, The Invention of Craft, London & New York, 2013, p. 168, illustrated in colour plate. 12;
    R. Cook and G. Adamson, edited by Jessica Smith and Louis Shadwick, Lectori Salutem, London, 2013, illustrated p. 12;
    P. Kirkham, S. Weber, eds., History of Design: Decorative Arts and Material Culture, 1400-2000, New York, 2013, p. 649, illustrated in colour p. 650, fig. 23.106;
    G. Adamson, ‘Behind the Curve’, in K. Widmer and J. King, In Plain Sight: Discovering the Furniture of Nathaniel Gould, Salem, 2014, p. 25, 27, illustrated in colour p. 26


    Other examples exhibited:
    New York, The Museum of Modern Art, Digitally Mastered: Recent Acquisitions from the Museum's Collection, November 2006 – November 2007;
    New York, Copper Hewitt, Smithsonian Design Museum, Rococo: The Continuing Curve 1730-2008, February – July 2008;
    Perth, Art Gallery of Western Australia, Thing: Beware the Material World, April - July 2009;
    New York, Brooklyn Museum, Thinking Big, March–May 2011;
    Charlotte, Mint Museum of Craft and Design, Against the Grain: Wood in Contemporary Art, September 2012 – January 2013; New York, Museum of Arts and Design, March – July 2013; Fort Lauderdale, Museum of Art, October 2013 - January 2014.