Marten van Middelkoop Chairs

Marvellous midcentury armchairs with tubular steel structure and seats. "Lens" model was designed by Giovanni Offredi and produced for Saporiti, around 1968 in Italy. These items are made of a stunning new stain-resistant, fire-retardant petrol blue velvet. A magnificent and iconic set that will be perfect for a living room or study, thanks to the brightness of the chromed steel structure. These pieces are in amazing vintage conditions as shown in the photos. The shipping quote refers to the chairs shipped with the seating disassembled from the chrome base. Giovanni Offredi (born 1927, Milan–died 2007, Milan) was a prominent Italian furniture and product designer of the second half of the 20th century. As opposed to most of the other Italian furniture designers of his time, Giovanni Offredi was not an architect, nor did he start designing early in his professional career. Instead, Offredi partially fits the career path of some of the talented contemporary designers who pursue product design outside of a formal education in architecture. The earliest furniture design work known by Giovanni Offredi consists of exemplary furnishings made specifically for some of the wealthy families in Milan. Such is the case of the works done by Offredi for Casa C., in 1960, in Gorgonzola, a small town 14 miles from Milan. These works were designed with a surprisingly minimal simplicity and elegance, and they also clearly display a hallmark of his design work with the use of angular lines and exposed metal or wood frames—not unlike some of the modern Scandinavian design of the time. In the late 1960s, Giovanni Offredi met Sergio Saporiti, the owner of Italian design shop and furniture maker Saporiti, and in 1970, Offredi formalized a partnership with the furniture maker. This partnership would be long and successful and resulted in many furniture designs of distinct precision that were clearly modern and innovative and that went on to enjoy considerable commercial success. The most prominent furniture designs that Offredi made for Saporiti include the Paracarro table...

VINTAGE Easy chair and footstool designed by Warren Platner. U.S.A, Knoll International, 1966. The lounge chair, model number 1725. Welded curved steel and wool upholstery. Beautifu...

Handsome vintage modern black & chrome cantilever chair by United Chair Company in the style of Steelcase. Comprised of a chrome cantilever frame, black plastic armrests, and its original black hopsacking fabric with button details. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear. Please see photos and zoom in for details. We attempt to portray any imperfections. Circa, 1970’s. What an EXQUISITE chair!!! This fabulous black and chrome cantilever chair was made by United Chair Company and it’s in the style of Steelcase. It is comprised of a gorgeous chrome cantilever frame with black plastic armrests, and it is wearing its original black hopsacking fabric with button detail on the seat back and cushion. Super stylish and super comfortable!! We say this chair is mostly modern...

"Diamond chair" by Harry Bertoia. Bertoia, who came from the collaboration with architect Eero Saarinen and architect-designer Charles Eames at the Cranbrook Academy of Art in Michi...

The new project with Studiopepe is a collaboration with designers Arianna Lelli Mami and Chiara Di Pinto, the creative minds behind the consultancy. Pastilles is a collection of smal...

Vintage Mother of Pearl & inlaid wood Middle Eastern arm chair.

Beautiful carved wood armchair by Charles Dudouyt from France, 1940s. Beautiful carved circular detail on wood back and woven seat. Intricate carved wood detail on arms, legs, and wo...

Savonarola style folding chairs with Curule form bases. Backs and seats are gilt embossed taupe suede. Four bronze finials.

Set of four chairs by Gerd Lange for Thonet.

Pair of Armchair and Windsor chair by Lucian Randolph Ercolani Ercol Edition circa 1960 Elm and beech Measures: 97 x 42 x 41 cm In very ...

Style: Bauhaus. Period: 1930-1939. Material: beech and chrome-plated steel Source: Germany Maker: Mart Stam. Designed by Mart Stam, a renowned Dutch designer, and architect pivota...

Chair designed by Gerrit Rietveld in 1920. Relaunched in 2015. Manufactured by Cassina in Italy. One of the versions of the iconic model dated 1918. The structure is in black-stained beechwood with white contrasting parts. Seat and back in green lacquered multiplywood. The black red and blue (Zeilmaker version) born from Rietveld’s chromatic experimentation While researching the origins of the red and blue model in collaboration with the Rietveld heirs, it emerged that the key idea of the first prototypes was based on the concept of spatial organization expressed through the monochrome tones of its elements. The first version was in fact produced in 1918 in completely unpainted wood.   In the following years Rietveld proposed various examples, either monochrome or painted in different colors, depending on the requirements of his customers and the interiors for which the chairs were intended. As such, it comes as no surprise to find this 1920s version, presented as part of Cassina’s MutAzioni selection, created for the school teacher Wicher Zeilmaker with a black frame with white ends and a dark green painted seat and backrest.  It was Rietveld’s ever-increasing involvement in the De Stijl movement that led him to also use primary colors on this model in 1923, and as such the chair became a veritable manifesto for the emerging neoplastic movement. Initially dubbed slat chair, Rietveld only gave it the name red and blue in the 1950s following its chromatic evolution. The various owners of the different examples used the chair as an abstract-realist sculpture in their interiors and, in some cases, as a simple tool for sitting on, adding cushions to make it more comfortable, just like Cassina offers for the black red and blue today. Important information regarding images of products: Please note that some of the images show other colors and variations of the model, these images are only to present interior design proposals. The item that is selling is on the first image. Important information regarding color(s) of products: Actual colors may vary. This is due to the fact that every computer monitor, laptop, tablet and phone screen has a different capability to display colors and that everyone sees these colors differently. We try to edit our photos to show all of our products as life-like as possible, but please understand the actual color may vary slightly from your monitor About the designer: Gerrit Thomas Rietveld, born in Utrecht on 24 June 1888, seems possessed of two personalities, each so distinct that one might take his work to be that of more than one artist. The first personality is that seen in the craftsman cabinet-maker working in a primordial idiom, re-inventing chairs and other furniture as if no one had ever built them before him and following a structural code all of his own; the second is that of the architect working with elegant formulas, determined to drive home the rationalist and neoplastic message in the context of European architecture. The two activities alternate, overlap, and fuse in a perfect osmosis unfolding then into a logical sequence. In 1918 Rietveld joined the “De Stijl” movement which had sprung up around the review of that name founded the year before by Theo van Doesburg. The group assimilated and translated into ideology certain laws on the dynamic breakdown of compositions (carrying them to an extreme) that had already been expressed in painting by the cubists: the “De Stijl” artists also carefully studied the architectonic lesson taught by the great Frank Lloyd Wright, whose influence was widely felt in Europe at that time. Collaborating first with Robert van’t Hoff and Vilmos Huszar, then with Theo van Doesburg and Cornelius van Eesteren, Rietveld soon became one of the most distinguished interpreters of the neoplastic message. Among his most important works are: the Schröder house at Utrecht (1924); the “Row Houses” at Utrecht (1931-1934); the Dutch pavilion at the Venice Biennial (1954); the sculpture pavilion in the Rijksmuseum Kröller-Müller at Otterloo and the Van Gogh Museum in Amsterdam (1955). Out of his equally important furniture, Cassina has chosen for its own production: the “Red and Blue” (1918), the “Zig-Zag” (1934), the “Schröder 1...