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Lot Essay
Cf: Wolf D. Pecher, Henry van de Velde. Das Gesamtwerk, Munich, 1981, pp. 102-103, and 218, 270, Cat. No. 1109, see also p. 265 for a period illustration of the model in van de Velde's home
Karl Ernst Osthaus, Van de Velde, Berlin 1984, p. 33, 76 Klaus-Jürgen Sembach and Birgit Schulte, Henry van de Velde. Ein europäischer Künstler seiner Zeit, Köln, 1992, p. 13, ill. no. 14 (frontispiece) and p. 109 (illustration of the model in a period interior)
Klaus-Jürgen Sembach, Henry van de Velde, Köln, 1989, p. 51 (illustrations of the model), see also p. 46 for a period illustration in van de Velde's home
Henry van de Velde designed the armchair in 1897 at the onset of the Art Nouveau movement that was characterized by floral motifs and sinuous lines. The chair's lack of ornamentation and its elegant strong design places it far ahead of its time. The artist himself loved the creation: he lived with examples of this model for many years. The chair is known to have been designed for various important interiors by van de Velde and only about a dozen examples survive today.
Karl Ernst Osthaus, Van de Velde, Berlin 1984, p. 33, 76 Klaus-Jürgen Sembach and Birgit Schulte, Henry van de Velde. Ein europäischer Künstler seiner Zeit, Köln, 1992, p. 13, ill. no. 14 (frontispiece) and p. 109 (illustration of the model in a period interior)
Klaus-Jürgen Sembach, Henry van de Velde, Köln, 1989, p. 51 (illustrations of the model), see also p. 46 for a period illustration in van de Velde's home
Henry van de Velde designed the armchair in 1897 at the onset of the Art Nouveau movement that was characterized by floral motifs and sinuous lines. The chair's lack of ornamentation and its elegant strong design places it far ahead of its time. The artist himself loved the creation: he lived with examples of this model for many years. The chair is known to have been designed for various important interiors by van de Velde and only about a dozen examples survive today.