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In the November 1935 issue of Dutch architecture magazine Bouwkundig Weekblad Architectura, Gerrit Rietveld wrote, “A piece of furniture made of fine wood and made purely by hand is sent in a crate to protect it against damage and breakage. Someone who receives such a package at home says at most: well packed. But it had never been established that such a crate represents a free carpentry method that goes straight to the target. With the sober means with which it is composed, it is stronger than its noble content.” The idea that a wooden packing crate could represent the pinnacle of furniture production is an extremely bold statement that aligns with the designer’s avant-garde design approach.
Advertisement for Gerrit Rietveld’s “Crate” furniture, circa 1934. As the name alludes, the Crate chair was made from the same wood as that used to construct wooden shipping crates. The sizes of the wood planks used to create these chairs were standard sizes found in lumber mills. The chair arrived to buyers flat and disassembled. The department store Metz marketed this line of furniture—which also included a taller chair, a desk, two small tables, and a bookcase—as ideal furnishings for weekend homes and children’s rooms. This series took inspiration from the simplified construction method of military furniture and also represents the designer’s interest in systemization and egalitarian design. Aesthetically, they reflect Rietveld’s desire to create furniture that is highly geometric and planar in form.
The present pair of armchairs is a particularly significant example, as it was originally given by the designer to his daughter Vrouwgien Noppen-Rietveld around 1945 and was later given to Anne Marie Francine Noppen, Reitveld’s granddaughter.來源
建築師女兒 Vrouwgien Noppen-Rietveld 收藏（由建築師本人約1945年直接送贈）
建築師孫女 Anne Marie Francine Noppen 收藏（繼承自上述藏家）
阿姆斯特丹，佳士得，2007 年 5 月 23 日，拍品編號 300
購自上述來源
紐約，蘇富比，2018 年 4 月 22 日，拍品編號 1477
紐約私人收藏
芝加哥，Wright，2018 年 10 月 25 日，拍品編號 209
現藏者購自上述拍賣文學
Daniele Baroni, The Furniture of Gerrit Thomas Rietveld, Woodbury, 1977, pp. 140, 143, 146-47
Peter Vöge, The Complete Rietveld Furniture, Rotterdam, 1993, pp. 15, 23, 89
Petra Timmer, Metz & Co., Rotterdam, 1995, pp. 104, 112
Ida van Zijl, Gerrit Rietveld, New York, 2010, p. 138藝術家簡介
格里特．湯馬斯．里特維德
Dutch • 1888 - 1964
Gerrit Thomas Rietveld began as an apprentice in his father's cabinetmaking workshop, going on to train and work as a draftsman. In 1917 he started his own furniture-making workshop in Utrecht. Positive critical review by Theo van Doesburg in his journal De Stijl resulted in near-instantaneous influence on broader developments in European modernism. This connection to the De Stijl movement also inspired him to introduce color to the posts, rails and terminals of his furniture. His resulting "Red-blue" armchair is among the most iconic chair designs of the twentieth century.
From the beginning, Rietveld embraced modernist principles of functionalism, simplicity of form and mass-production, and eventually moved away from De Stijl to become a member of the Congrès Internationaux d'Architecture Moderne (CIAM). Rietveld worked through the post-war years, completing a number of private residences, housing developments and institutions. He continued to design furniture for these commissions as well as for retailers like Metz & Co.
加拿大私人收藏
49
《「箱」椅子一對》
約1934年設計，約1945年作
上色木
每組：23 1/2 x 22 1/2 x 28 3/4 英吋 (59.7 x 57.2 x 73 公分)
此作品由荷蘭阿姆斯特丹 Metz 製造。
估價
$10,000 - 15,000
成交價$17,640
DesignNewYork@phillips.com
212-940-1268
設計
紐約拍賣2021年12月7日
