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Price category: 5,000 - 7,500 usd / eur

Brutalist design - deriving from the French word brut, meaning “raw” – is characterised by a deliberate plainness and crudity. It emerged in the mid-20th century and gained popularity in the late 1950s and 1960s. In furniture and décor, the Brutalist movement was somber, giving importance to eerie organic and rugged shapes in dark, earthy tones. The defining characteristics of Brutalist furniture design can be observed in these chairs.

This pair is inherently simplistic, both in visual and technical terms. Yet, the design is  balanced with well-thought-out proportions. The solid dark wood defines the look with a natural pattern and texture. The chairs are a nod to modernist design with traditional craftsmanship and boast a robust, almost industrial aesthetic, marrying form and function. Furthermore, the solid wooden slats are seamlessly connected through traditional joints, showcasing the commitment to meticulous craftsmanship. The design of these chairs projects an air of strength and solidity. The curved backrests and seats provide comfort, while the sturdy frames and legs guarantee a solid base. This pair is truly expressive and attention-grabbing. The overall form of the chairs evokes the architectural roots of Brutalism, while the solid wood keeps the pair from feeling industrial. It is at its core, frank craftsmanship.

Today, Brutalism is seen as a reaction against artificiality and lightness, reevoking the appreciation for raw, yet vigilant design. The brutalist pieces, exemplified by this beautiful set of chairs, lend a unique eccentricity to any interior or collection.

Condition:

In good vintage condition. Wear consistent with age and use. The chairs have been reconditioned. Due to the nature and age of the wood, the chairs may have some marks, scratches, and discolouration.

Dimensions:

19.48 in W x 27.75 in D x 30.31 in H; Seat height 15.94 in; Seat depth 20.27 in

49.5 cm W x 70.5 cm D x 77 cm H; Seat height 40.5 cm; Seat depth 51.5 cm

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Price category: 5,000 - 7,500 usd / eur

Bas van Pelt’s progressive designs were, in many ways, ahead of their era. The Dordrecht-born designer’s furniture models are quite rare, a few are preserved in the Stedelijk Museum Amsterdam for modern art, contemporary art, and design. This pair of rare chairs are testimonies to the less talked about, but brilliant era of early Dutch modernism.

This elegant pair of chairs embody the distinctive design principles of the Haagse School (The Hague School) movement, which emerged in the Netherlands during the early 20th century. Renowned for its blend of modernist and traditional influences, this style emphasizes clean lines, functional form, and quality craftsmanship. One thing that connects Haagse School furniture is the appreciation of beautiful, quality wood and artisanal woodworking. These armchairs have stunning solid wood frames with geometric and symmetrical angles, most apparent in the square backs and legs. While chairs like these are generally more utilitarian, this pair still manages to look cosy and warm thanks to the upholstered seats. The fabric not only boasts an eye-catching colour but also offers a tactile experience, thus the pair is as comfortable as it is stylish.Additionally, the woodwork, with its smooth finish and natural grain, contrasts beautifully with the plush red upholstery, creating a balanced, yet visually striking appearance.

This pair of armchairs is a rare find that speaks to the elegance and artistry of the early 20th century. Whether used to enhance a modern space with a nod to the past or as a statement piece in a period room, these chairs promise to bring warmth and beauty into your home.

Condition:

In good vintage condition. Wear consistent with age and use. The chairs have recently been reconditioned and reupholstered in a premium fabric. Each of our items can be reupholstered by our in-house atelier in a fabric of choice. Due to the nature and age of the wood, the chairs may have some marks, scratches, and discolouration. Please reach out for more information.

Dimensions:

22.83 in W x 24.40 in D x 35.82 in H; Seat height 20.86 in; Seat depth 18.89 in; Arm height 28.74 in

58 cm W x 62 cm D x 91 cm H; Seat height 53 cm; Seat depth 48 cm; Arm height 73 cm

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Price category: 5,000 - 7,500 usd / eur

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Less famous than their Western European contemporaries, Czechoslovakian prolific creators were no less talented. They were asked not to design artistically but to create furniture for the “volk”, or ordinary people. Pieces were expected to last, to be versatile, easy to reproduce and functional, but also elegant and well-designed.

Overall, Czech mid-century modern designs tend to be more sober than their French, German, American, and even Scandinavian counterparts. As demonstrated by these chairs, form and decorative elements played a role, but innovation and artistry took a backseat to factors like functionality and ease of production. This pair has a sober design that relies on materials as the primary decorative elements. The solid beech frames are governed by straight lines with the seats and backs covered by woven sections of wicker. The only entirely decorative element is the rounded end of the elongated back legs. However, the design manages to use functional elements in a decorative way as well, which is most apparent in the wider wooden plates on the armrests. Aesthetically, the wickerwork stands out thanks to the expert weaving technique and the natural beauty of the material. The wicker accentuates the beech frames and the gentle curve of the seats and backrests as well.

For much of the 20th century, industrial, and furniture designers in the Eastern Bloc created their work in near anonymity — including in the former Czechoslovakia, where communist ideologies ran counter to capitalist ideas like branding and acclaim. Now, however, 20th-century Czech designs are making their way back onto the international stage. In the process, the influence their ingenuity had on Western design is sparking a long-overdue appreciation for their work.

Condition:

In good vintage condition. Wear consistent with age and use.

Dimensions:

21.25 in W x 24.6 in D x 31.1 in H; Seat height 17.71 in ; Arm height 26.77 in

54 cm W x 62.5 cm D x 79 cm H; Seat height 45 cm; Arm height 68 cm

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Price category: 9,000 - 12,500 usd / eur

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The Czech company “ULUV Krásná jizba” produced some of the most beautiful Eastern European pieces of the mid-century era, both in terms of aesthetics and quality.

In the emerging design landscape of 1960s Czechoslovakia, Úľuv emerged as a prominent manufacturer, crafting pieces that blended functionality with artistic flair. Even in their repertoire, these chairs are standout creations with their sculptural structures, epitomizing the innovative spirit of mid-century Eastern European furniture design. The transition into the 1960s saw a fascinating fusion of traditional craftsmanship and modern design principles, with these chairs standing as testaments to this harmonious blend. Crafted from wood and rattan, these chairs exhibit a mastery of woodworking and design; they showcase an interesting visual unity that is both striking and functional. The square rattan backs add an element of texture and lightness, contributing to the overall visual balance of the chairs.

The use of rattan, a material traditionally associated with folk craftsmanship, reflects Úľuv's commitment to preserving cultural roots while embracing (then) contemporary design trends as well. Another defining feature of these chairs are the upholstered seat cushions, offering a comfortable juxtaposition to the angular and tactile qualities of the wooden and rattan elements. The light upholstery provides a soft counterpoint to the solid wood structure, ensuring that the chairs are not only visually appealing but also inviting and comfortable.

The clean lines, innovative use of materials, and commitment to quality above all make these chairs timeless design pieces, bridging the past and the present in a way that transcends fleeting design trends.

Condition:

In good vintage condition. Wear consistent with age and use. The chairs have been reupholstered recently in a premium bouclé fabric. Each of our items can be re-upholstered by our in-house atelier in a fabric of choice. Please reach out for more information.

Dimensions:

24.21 in W x 28.15 in D x 28.94 in H; Seat height 14.76 in; Seat depth 19.09 in

61.5 cm W x 71.5 cm D x 73.5 cm H; Seat height 37.5 cm; Seat depth 48.5 cm

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Price category: 2,500 - 5,000 usd / eur

In the unique design style, “Amsterdamse School”, was an influential Dutch architectural and design movement that emerged in the early 20th century, and left an indelible mark on the cultural landscape of the Netherlands and on Europe on a larger scale. Beyond its architectural achievements, the Amsterdamse School also extended its influence to interior design and furniture, giving rise to a distinctive style that reflects a harmonious blend of craftsmanship, artistic expression, and social ideals exemplified by this pair of chairs with an enduring appeal, quality, and style.

The Amsterdamse School movement arose in response to the predominant influence of Art Nouveau and Jugendstil in the late 19th and early 20th centuries. This movement, which took root in Amsterdam, sought to create a uniquely Dutch style that embraced traditional craftsmanship and celebrated the spirit of the current times. The Amsterdamse School extended its influence across various artistic disciplines, including architecture, decorative arts, and furniture design.

The styles’ main characteristics are reflected in the design of this pair beautifully : expressive, art deco-reminiscent shapes and forms aided by functionality. Amsterdamse School furniture is renowned for its expressive and sculptural qualities. Designers sought to integrate form and functionality seamlessly, resulting in furniture pieces that were not only visually striking but also practical. Subtle, intricate detailing can be observed in this pair as well, from the tightly fit, riveted upholstery to the carved wooden arms and legs, and, before all else, a strong emphasis on craftsmanship.Further reflecting a commitment to renowned Dutch craftsmanship, Amsterdamse School furniture frequently utilized locally sourced materials such as quality woods. The choice of materials not only highlighted the movement's dedication to authenticity but also contributed to the desired durability and longevity of the pieces. The craftsmanship of Amsterdamse School furniture is exemplified by its intricate woodwork and joinery. Pieces often showcased decorative detailing through carvings, inlays, and geometric patterns. These elements added a touch of individuality and artistry to each piece, setting them apart from the mass-produced furniture of the time. Finally, The Amsterdamse School was not merely a design movement; it also embraced social ideals. Furniture designed during this period typically featured elements that conveyed a sense of solidarity and unity. Decorative motifs, such as were often incorporated to symbolize the interconnectedness of nature and society.

Despite the passing of decades, the Amsterdamse School furniture style continues to captivate enthusiasts and collectors worldwide. The enduring appeal lies in its unique combination of artistic innovation, craftsmanship, and a commitment to cultural identity. The pieces from this era are not merely functional items but also works of art that convey the spirit of a transformative period in Dutch history.

In conclusion, the Amsterdamse School furniture style remains a testament to the creative vision and social consciousness of its designers. As we continue to appreciate and preserve these timeless pieces, we celebrate a chapter in design history that has left an indelible mark on the world of furniture aesthetics.

Condition:

In good vintage condition. Wear consistent with age and use. These chairs come with their original upholstery or have been reupholstered by a previous owner. Each of our items can be re-upholstered by our in-house atelier in a fabric of choice. Please reach out for more information.

Dimensions:

24.6 in W x 23.42 in D x 39.37 in H; Seat height 21.06 in; Arm height 7.75 in

62.5 cm W x 59.5 cm D x 100 cm H; Seat height 53.5 cm; Arm height 70.5 cm

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Price category: 9,000 - 12,500 usd / eur

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This set of chairs was originally designed by the Dutch Benedictine monk and architect, Dom Hans van der Laan for the Abbey Church of St. Benedictusberg located near the Dutch town of Vaals.

These easy chairs are in an untouched condition. They are made of pine wood and feature copper nails, giving these pieces an understated, rustic look. The pair is entirely painted grey, including the nails. This specific colour was carefully selected by Whim van Hoof to resemble the original shade as closely as possible. The main focus of van der Laan’s design was functionality and rationality, which is reflected in the openings on the sides and on the backs serve the purpose of joining multiple pieces together, and lifting them.

Van der Laan was a leading figure in the traditionalist movement, the Bossche School, that held these values as well. These characteristics make these chairs charming, while also being beautiful pieces of Dutch design history. Although Dom Hans van der Laan left a small body of work behind, his legacy is highly regarded in the world of architecture. The St. Benedictusberg Abbey in Vaals and its interior quickly became his masterpiece at the age of 53. This model is still found in the Dutch church named Sint Willibrorduskerk in Almelo, for which it was possibly designed for in 1964.

Condition:

In good vintage condition. Wear consistent with age and use. Some small marks and scratches.

Dimensions:

Chairs:

25.59 in W, 26.77 in D, 35.43 in H; Seat Height 15.94 in

65 cm W, 68 cm D, 90 cm H; Seat Height 40.5 cm

About the designer:

Dom Hans van der Laan (1904-1991) was the ninth of the eleven recorded children of Leiden architect Leo van der Laan (1864–1942). Thanks to Brother Lambertus Moonen and Hans van der Laan jr. the full biography is now known.

Dom van der Laan began his studies in architecture at the ‘Technische Hogeschool’ of Delft in 1923, two years after he finished his secondary school. Architectural education in those days was generally confined to nineteenth-century neoclassicism and all teachers originated from before the first world-war. Students in their third year of study had to make their own designs, but those of Hans van der Laan were all rejected. In the same autumn he founded, together with some fellow-students, a study-group, the ‘Bouwkundige Studiekring’ BSK (‘Architectural Study Circle’), aiming to discover themselves the very basics of architecture, which they missed in regular teaching.

On 26 May 1929 Hans van der Laan and his fellow-novice Herman Diepen made their profession in the abbey. In 1936 father Hans was charged with the guidance in the sacristy, which he would retain till his departure to Vaals in 1968. After the war father van der Laan was invited by the bishop of Breda to take guidance of a working party, charged with the rebuilding of the destroyed churches in the diocese.

In 1951 the abbey of Sint-Benedictusberg in Vaals had been founded a second time by a group of monks of the Saint-Pauls abbey of Oosterhout and father Van der Laan was asked by them to design the still missing crypt and church. On 18 October 1968 father Van der Laan changed his domicile from Oosterhout to Vaals, where in 1970 he became official member of the community of Sint-Benedictusberg. In his new home he also was appointed as sacristan, so that he could continue his familiar daily work and in 1973 he was elected as a member of the Council, the board under the guidance of the abbot.

Prior to his death, Van der Laan garnered worldwide acclaim for his comprehensive architectural theory, which has been translated into several languages and presents a doctrine of connections in the design of architectonic space, notably the “plastic number”. ~H.

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Price category: 12,500 - 15,000 usd / eur

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This set of four elemental chairs and two tables is a beautiful example of the collaboration between Dutch designer Tom Bruinsma and Mobach Ceramics. These fully glazed ceramic pieces appear in a variety of colours depending on the angle and light. The wooden backs add an organic and modern touch to the chairs. Dutch designer, Tom Bruinsma is primarily known for his ceramic designs featuring sharp edges and angles.

As all Mobach ceramics, the lower body of each chair is handmade in small batches. The glazing and the firing processes ensure that each ceramic piece is unique. All ceramics bear the Mobach stamp.

Condition:

In good vintage condition. Wear consistent with age and use.

Dimensions:

14.96 in W x 15.75 in D x 45.28 in H; Seat Height 14.96 in

38 cm W x 40 cm D x 115 cm H; Seat Height: 38 cm

About the manufacturer:

The Mobach Ceramics factory was established in Utrecht in 1895 by Klaas Mobach (1855-1928). Since the establishment, five generations of Mobachs have been working with a team of staff in an historic building on Kanaalweg, Utrecht. Through the century, the method hardly changed. All ceramics are thrown on the wheel or shaped by hand from coils or sheets of clay. The ceramic pieces, such as the bodies of this set, owe their distinctive look to the exclusive glazes, which are composed according to the company’s own recipe. Due to the high firing temperature, Mobach ceramics are suitable for both indoor and outdoor use. ~H.