Henry van de Velde

executed by the Societé Van de Velde & Co., Brussels
mahogany with leather upholstery

Christie's, London, 30 April, 2008, lot 23
Acquired from the above by the present owner

Weimar, Neues Museum, Leidenschaft, Funktion und Schönheit: Henry van de Velde und sein Beitrag zur europäischen Moderne, 24 March - 23 June, 2013

Jacques-Grégoire Watelet, Cahiers Henry van de Velde, no. 11, Brussels, 1970, p. 39
Yvonne Brunhammer et al, Art Nouveau, Belgium, France, exh. cat., Houston, 26 March - 27 June 1976 and Chicago, 28 August - 31 October 1976  Houston, 1976, p. 299, cat. no. 482, pp. 369-371, cat. no. 571 for period illustrations of this model in three contemporary interiors
Dan Klein & Margaret Bishop, Decorative Art 1880 - 1980, Oxford, 1986, p. 45, fig. 10 for a chair with a rush seat
Pierre & François Loze, Belgium Art Nouveau: From Victor Horta to Antoine Pompe, Gent, 1991, pp. 51, 53 for relatable examples
Klaus-Jürgen Sembach, Birgit Schulte, Gerda Breuer, Henry van de Velde : ein europäischer Künstler seiner Zeit, Cologne, 1992, p. 156 for an example with fabric upholstery
Ingeborg Becker, Henry van de Velde in Berlin, Berlin, 1993, cover, p. 12, fig. 2, p. 13, fig. 3, p. 15, fig. 4b, pp. 61, 81 for period illustrations of this model with both rush and leather seats
Thomas Föhl, Antje Neumann, Henry van de Velde: Das Haus unter den Hohen Pappeln, Munich, 2003, pp. 43, 59 for period illustrations of this model
Philippe Thiébault, Art Nouveau Revival: 1900, 1933, 1966, 1974, exh. cat., 20 October 2009 - 4 February 2010, Paris, 2009, p. 95, fig. 79 for a period illustration of this model
Brigitte Reuter, ed., Die Jugendstil - Sammlung, vol. 4, Petersberg, 2010, pl. XXXVIII, p. 267, cat. no. 2180
Werner Adriaenssens et al, Roberto Polo: The Eye, London, 2011, p. 424, illustrated
Thomas Föhl et al, Henry van de Velde: Passion, Fonction, Beauté 1863 - 1957, exh. cat., 13 September 2013 - 12 January 2014, Tielt, 2013, pp. 77, 96, fig. 66, p. 114, cat. no. 83

Overall very good condition consistent with age and use. Scattered scuffs and scratches throughout the set and is generally concentrated to the feet, stretchers and seat framework. Four minor losses to the wood on the feet of three chairs, the largest 2.5 x 1.5 cm. Signs of older restoration with the use of red wax on smaller holes on two chairs. A deeper mark to the backrest of one chair, approximately 1cm in diameter. Separations to the interior mahogany framework below the seats of each chair which do not affect the structural integrity of the chairs. A beautiful set of chairs with excellent provenance.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This model, constructed from ash with woven rush seats, was designed circa 1894-95 for the designer's home, 'Bloemenwerf', Uccle, near Brussels. Later models were produced in both padouk and mahogany, the latter executed with leather seats for the residence of Madame De Craene-Van Mons, Brussels, 1898.