Gerrit Th. Rietveld until 1961;
Bertus Mulder, Utrecht.
THE PROPERTY OF BERTUS MULDER, UTRECHT (LOTS 456-467)
Bertus Mulder (b. 1929) studied architecture at the Academie voor Bouwkunst in Arnhem, at the Hochschule für Gestaltung in Ulm and at the Technische Hochschule in Aachen. He used to work for Gerrit Rietveld and later specialised as restoration architect for work by Rietveld. He has several publications to his name.
Christie's Amsterdam is pleased to invite her clients to a Dutch lecture by Bertus Mulder on the topic of Rietveld, to be held on Thursday, September 27, at 7.30pm on the first floor of Cornelis Schuytstraat 57, Amsterdam. Rsvp before 24 September as space is limited: firstname.lastname@example.org 0031 (0)20 5755 232.
Preface by Bertus Mulder
"In the years 1960-1963, I worked for Gerrit Rietveld as a free-lancer. In 1959 I settled in Utrecht because my girlfriend Monica studied there at the time. I established myself as an independent architect and in the beginning I did not receive any assignments. To be able to make a living, I decided to work for another architect three days a week, initially for Hein Salomonson in Amsterdam, and later for Gerrit Rietveld in Utrecht. My girlfriend and I were living in a two-bedroom flat, and when we were expecting our second child in 1961, I had to find larger housing. I knew that Rietveld had vacated his apartment above the cinema at Vredenburg 8 bis, where he had lived since 1937. When his wife died in 1958 he moved to the Rietveld Schröder House where Truus Schröder already lived since 1925. I did not know whether the apartment was still in use. Judging from the outside, it looked very much inhabited. When I asked Rietveld about it, he replied 'Would you like to move in?' He promptly took the key from his key ring and suggested we should have a look. We did so, and moved in shortly after. Rietveld was quite unattached to his belongings. He was only aware of them at the moment he used them and their material value was meaningless to him. This became apparent when I told him we would like to move into his place. To me, this did not appear unproblematic, since the house was completely furnished, from toothbrushes to famous pieces of furniture which, judging by the labels on their backs, had already been exhibited at the Museum of Modern Art in New York. But he said: 'Use whatever you find useful, and just get rid of the rest.' Of course we did not get rid of anything. We moved into the apartment as it was, furnished with Rietveld's household belongings. The furniture we did not want to use was stocked in the alcoves. Eventually, we started to feel suffocated by living in a house which could be a museum. Rietveld cared little whether his apartment would be cleared out. He left it to me to arrange this. Most of his furniture went to his children. A great number of pieces ended up in important museums. We were allowed to keep whatever was left. A bench, a table with foldaway top and a sewing casket have recently joined the collection of the Centraal Museum in Utrecht. The remaining objects are presently being offered in this sale. We have used them with great enjoyment for many years, and now, while we still can, would like to see them move to private or museum collections."
Utrecht, July 2012
1. Marijke Küper and Ida van Zijl, Gerrit Th. Rietveld, Het volledige werk 1888-1964, Centraal Museum Utrecht, 1992.
2. Bertus Mulder, Gerrit Thomas Rietveld: Schets van zijn leven, denken en werken, Nijmegen, 1994.
3. Luca Dosi Delfini, The Furniture Collection Stedelijk Museum Amsterdam 1850-2000 From Michael Thonet to Marcel Wanders, Rotterdam/Amsterdam, 2004.
4. Ida van Zijl and Bertus Mulder, Het Rietveld Schröderhuis, Utrecht, 2009.
5. Ida van Zijl, Gerrit Rietveld, New York, 2010.
1. Page 61, cat. nr. 7, with illustration of one of the two examples in the Centraal Museum in Utrecht and with an illustration of a blueprint of a design drawing from ca. 1935 now in the Rietveld Schröder archive in Utrecht.
2. Page 90-91, with an incorrect drawing of the chair and an explanation about the measurements.
4. Page 18, with illustration of one of the two examples in the Centraal Museum in Utrecht. Mentioned here by the authors is that Rietveld designed this piece while he was still working with his father.
4. Page 80, with illustration of the interior of the Rietveld Schröder house at the time Truus Schröder still lived there, showing a bankstoeltje next to the bed.
4. Page 100, with a photograph of the apartment at Vredenburg by Nico Jesse in 1947. Here is visible a 'bankstoeltje' at the head of the dining table. Judging by its size this is not the chair here on offer.
5. Page 21, with illustration of one of the two examples in the Centraal Museum in Utrecht. The chair is here referred to as Upright armchair.