30 April 2008
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
GERRIT RIETVELD FOR METZ & CO.
BEUGELSTOEL, DESIGNED 1927, EXECUTED CIRCA 1930
steel rod with aluminium paint, black-painted laminated and solid wood
36 in. (92 cm.) high; 24¼ in. (62 cm.) wide; 32 in. (81 cm.) deep
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
Peter Vöge, The Complete Rietveld Furniture, Rotterdam, 1993, pp. 74-75, pl. 92 (design illustrated).
The Beugelstoel model was designed in 1927 and belongs to one of the few models Dutch architect Gerrit Thomas Rietveld (1888-1964) designed making use of tubular steel. Although the first prototype examples were produced with solid steel frames and so-called vulkaanfiber (fibreboard) seats, around 1930 the Amsterdam shop of Metz & Co. manufactured and sold several Beugelstoel models with hollow tubular frames and single planes of plywood wrapped from the top of the back to the front of the seat. The present armchair is one of these Metz produced examples. In the end the cooperation between Rietveld and Metz in the 1930s did not result in a mass production of his furniture, unfortunately for the architect whose goal was to see his designs achieve wide usage.
No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.
Malcolm Cossons looks at the resurgence of cross-collecting, canvassing the opinions of leading art world figures ahead of this month's Masterpiece London
Textile designer Neisha Crosland on why she was drawn to a Raoul Dufy advertisement for a Bianchini Férier fabric
From Prouvé to Perriand, Lalanne to Leleu and more, illustrated with covetable pieces coming up for auction in New York on 20 June
Christie’s Decorative Arts and Design specialists reveal the people, places and spaces that spark their senses
The Impressionist and Modern Art Evening Sale totals £128,081,750, with works by Picasso and a record-breaking Franz Marc painting also achieving top prices
Alastair Smart profiles the life and work of the Pre-Raphaelite artist described by Burne-Jones as ‘the best of us all’ — illustrated with works offered in July