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Lot Essay
See: Bauhaus Archiv, Museum fr Gestaltung, Berlin, 1981, pp. 90-91, No. 153
Experiment Bauhaus, Exh. Cat. No. 99, p. 102
Magdalene Droste and Manfred Ludewig, Marcel Breuer Design, 1994, p. 7, fig. 3
See also: Christie's New York, 1 October 1983, Lot 199, (example de-accessioned by the Museum of Modern Art)
The design for the present chair was first created by Breuer in 1922, and subsequently refined in 1924 to the present form. It shows clearly the influence of Rietveld's easy chair (See Lot 59) although replacing the plywood seat and back with strips of fabric or Eisengarn. Breuer used fabrics on his furniture from an early date collaborating with Gunta Stölzl. Eisengarn proved a most suitable complement to his furniture being hardwearing, somewhat impervious to rot and also easily replaced (strong colour certainly played its part within the Bauhaus as it did for De Stijl).
A former student at the Bauhaus recalls that each new arrival was set the demanding task of recreating the design under the stern tutelage of Breuer himself who was then in charge of the furniture workshop.
The measurements of this chair differ only very slightly from other examples in the Victoria and Albert Museum, London and in the Metropolitan Museum of Art in New York.
Experiment Bauhaus, Exh. Cat. No. 99, p. 102
Magdalene Droste and Manfred Ludewig, Marcel Breuer Design, 1994, p. 7, fig. 3
See also: Christie's New York, 1 October 1983, Lot 199, (example de-accessioned by the Museum of Modern Art)
The design for the present chair was first created by Breuer in 1922, and subsequently refined in 1924 to the present form. It shows clearly the influence of Rietveld's easy chair (See Lot 59) although replacing the plywood seat and back with strips of fabric or Eisengarn. Breuer used fabrics on his furniture from an early date collaborating with Gunta Stölzl. Eisengarn proved a most suitable complement to his furniture being hardwearing, somewhat impervious to rot and also easily replaced (strong colour certainly played its part within the Bauhaus as it did for De Stijl).
A former student at the Bauhaus recalls that each new arrival was set the demanding task of recreating the design under the stern tutelage of Breuer himself who was then in charge of the furniture workshop.
The measurements of this chair differ only very slightly from other examples in the Victoria and Albert Museum, London and in the Metropolitan Museum of Art in New York.