Chair by Piet Klaarhamer

Klaarhamer Chair I56A1008

Chair by Piet Klaarhamer

Piet Klaarhamer was a Dutch architect and designer who was a disciple of Hendrik Petrus Berlage. Gerrit Rietveld on his turn was a discipel of Piet Klaarhamer.

This chair was designed for a boy’s room in villa Arendshoeve in Voorburg, a suburb of The Hague. De Arendshoeve belonged to the Bruynzeel family that operated various wood factories in The Netherlands and beyond. The color scheme was designed by a member of “De Stijl”, Vilmos Huszár.

The Central Museum of Utrecht will devote an exhibition to the relation between Gerrit Rietveld and Piet Klaarhamer from December 20, 2014 – March 22, 2015.

Corner Chair by Thijs Rinsema

Corner Chair by Thijs Rinsema I56A0987
Tagged Corner Chair by Thijs Rinsema I56A0986

Corner Chair by Thijs Rinsema I56A0988

Corner Chair by Thijs Rinsema

I’ve featured a similar corner chair earlier as if being designed by Theo van Doesburg, a member of the Dutch Stijl Group of which Gerrit Rietveld and Piet Mondrian were other members. It seems I misread the tags in the Belvedere Museum then. These photo’s I took at the Gemeentemuseum Den Haag (or The Hague Municipal museum of modern art) recently and I’ve added the tag which shows the The Hague Museum as the owner of the chair. They should know best the provenance of their chair.

Thijs Rinsema was not a member of De Stijl, but was a good friend of Theo van Doesburg and did know Gerrit Rietveld.

Chair by Gunta Stölzl and Marcel Breuer from 1921

Chair by Gunta Stölzl and Marcel Breuer from 1921

The presence in Weimar of Theo van Doesburg, co-founder of the De Stijl movement, and the design principles that he promoted influenced the development of the Bauhaus from 1921 at the very latest. The chair made in 1921 by Marcel Breuer and Gunta Stölzl displays distinct formal evidence of the principles of the Dutch art group. Everything about this chair is rectangular: backrest, seat, the cross-section of the chair legs; even the woven tapestry strips form squares or rectangles. The colours for this piece were also selected according to the De Stijl concept with a palette limited to red, blue and yellow enhanced by black, white and grey.

Siebenbrodt, Michael (Ed.): Bauhaus Weimar: Designs for the Future, Ostfildern-Ruit 2000.

via Gunta Stölzl – Bauhaus Master .

Once more an indication De Stijl had indeed influenced Bauhaus.

About Gunta Stölzl

Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school’s weaving workshop, where she created enormous change as it transitioned from individual pictorial works to modern industrial designs. She was one of a small number of female teachers on the Bauhaus’ staff and the first to hold the title of “Master”.

Her textile work is thought to typify the distinctive style of Bauhaus textiles. She joined the Bauhaus as a student in 1919, became a junior master in 1927. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis.

The textile department was a neglected part of the Bauhaus when Stölzl began her career, and its active masters were weak on the technical aspects of textile production. She soon became a mentor to other students and reopened the Bauhaus dye studios in 1921. After a brief departure, Stölzl became the school’s weaving director in 1925 when it relocated from Weimar to Dessau and expanded the department to increase its weaving and dyeing facilities. She applied ideas from modern art to weaving, experimented with synthetic materials, and improved the department’s technical instruction to include courses in mathematics. The Bauhaus weaving workshop became one of its most successful facilities under her direction.

via Wikipedia

Gem Chair by Brian Dreesman



Gem Chair by Brian Dreesman

What better design to open a new week on Chair Blog with than this Gem of a Chair by Brian Dreesman? A Gem in many respects, the eye catcher being that it is a new approach to chair design not seen before in the over 3,000 chairs we have featured by now.

I have a feeling Brian has a Dutch or German ancestry. Not only by his name, but also because I see some early 20ieth century design parallels in this chair. Strait lines, no curves was typically what Berlage prior to De Stijl and Rietveld as member of De Stijl propagated.

In addition this seems a comfy chair and comfy was not typically something those famous early 20ieth century chairs stood out by.

Brian is a Studio Artist, recently graduated from Iowa State University. He found inspiration for this chair by the way gem stones are set in jewelry.

This is what I would call De Stijl 21st Century!