- Product:
- Side chair
- Manufacturer:
- Christie`s
- Architonic ID:
- 4102499
- Launched:
- 1927
- Country:
- United Kingdom
- Category:
- Furnishings
- Address
- Telephone
- Website
Key facts
Product description
Designed 1927, one of four examples executed by Beutter & Lauth for the Die Wohning exhibition at the Weissenhofsiedlung, Stuttgart, 1927, walnut and cane.
Underside with metal tag Beutter & Lauth, Sitzmöbelfabrik, Stuttgart
Graeser studied furniture construction and interior design at the Königliche Kunstgewerbeschule under Bernhard Pankok. In 1917 he opened his studio in Stuttgart, the following year became a member of the Deutsche Werkbund, and regularly participated in its exhibitions. Subsequent to a 1926 solo exhibition at the Landesgewerbemuseum, Mies van der Rohe asked Graeser to furnish a model apartment in his residential block in the Weissenhof housing estate, thus paving the way for Graeser's entry into the inner circle of the Neues Bauen movement. For the Weissenhof exhibition Graeser designed a dining table together with a set of four chairs, of which only one, the example offered, is understood to have survived. The restrained and finite minimalism of the chair design appears in great contrast to the sweeping energy of Rohe's own design for the exhibition (lot 47), and precedes by half a century the reductive designs of artist Donald Judd.
Subsequent to the increasingly hostile political climate in Germany, Graeser was obliged to return to his native Switzerland, where he embarked upon a highly successful career as an abstract artist, allied to the Zurich Concrete artists during the 1950s.
Lit: Camille Graeser, Zurich, 2002
Underside with metal tag Beutter & Lauth, Sitzmöbelfabrik, Stuttgart
Graeser studied furniture construction and interior design at the Königliche Kunstgewerbeschule under Bernhard Pankok. In 1917 he opened his studio in Stuttgart, the following year became a member of the Deutsche Werkbund, and regularly participated in its exhibitions. Subsequent to a 1926 solo exhibition at the Landesgewerbemuseum, Mies van der Rohe asked Graeser to furnish a model apartment in his residential block in the Weissenhof housing estate, thus paving the way for Graeser's entry into the inner circle of the Neues Bauen movement. For the Weissenhof exhibition Graeser designed a dining table together with a set of four chairs, of which only one, the example offered, is understood to have survived. The restrained and finite minimalism of the chair design appears in great contrast to the sweeping energy of Rohe's own design for the exhibition (lot 47), and precedes by half a century the reductive designs of artist Donald Judd.
Subsequent to the increasingly hostile political climate in Germany, Graeser was obliged to return to his native Switzerland, where he embarked upon a highly successful career as an abstract artist, allied to the Zurich Concrete artists during the 1950s.
Lit: Camille Graeser, Zurich, 2002