Spaarbank Armchair by J.J.P. Oud

I found this chair at Mid modern/ Mass modern, two Companies owned by one man, Etienne Feijns, who started out as 7 year old boy to accompany his parents on their searching quests of Antique and Brocante markets in The Netherlands an Belgium.

Later he started to collect midcentury and later 20ieth century  design on his own and formed the two companies until the two companies got together in a 5,000 square meter warehouse where he keeps his trade and treasures. Only visit able on appointment.

About the Spaarbank Chair

Ultra rare easy chair designed by Jacobus Johannes Pieter Oud for Rotterdamse spaarbank, Holland 1960. This easy chair was designed for the interior of the Spaarbank van Rotterdam in 1960. The chair has a matt chrome plated tubular metal frame and has its original vynil grey and off white upholstery in nice two tone contrast. The other chairs from the bank were reupholstered by Pander in blue and yellow faux leather upholstery but for an unknown reason this chair survived and still has its original upholstery which makes this an exceptional and museal lounge chair.

Jacobus Johannes Pieter Oud, often called J. J. P. Oud (9 February 1890 – 5 April 1963) was an important Dutch architect. His fame began as a follower of the De Stijl movement. Oud was born in Purmerend, the son of a tobacco and wine merchant. As a young architect, he was influenced by Berlage, and studied under Theodor Fischer in Munich for a time. He worked together with W.M. Dudok in Leiden, which is where he also met Theo van Doesburg and became involved with the movement De Stijl.

Between 1918 and 1933, Oud became Municipal Housing Architect for Rotterdam. During this period when many laborers were coming to the city, he mostly worked on socially progressive residential projects. This included projects in the areas of Spangen, Kiefhoek and the Witte Dorp. Oud was one of a number of Dutch architects who attempted to reconcile strict, rational, ‘scientific’ cost-effective construction technique against the psychological needs and aesthetic expectations of the users. His own answer was to practice ‘poetic functionalism’.

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Chairs!
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