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1 Tubular Chrome MR10 Chair by Ludwig Mies van der Rohe



Gordon International Ludwig Mies van der Rohe Mies van der Rohe began his career in architecture in Berlin, working as an architect first in the studio of Bruno Paul and then, like Le Corbusier and Walter Gropius, Peter Behrens. In the mid-1920s, he began to design furniture, pieces that he conceived and created for particular interiors. In 1927, he met Lilly Reich, a Bauhaus alumnus who collaborated with Mies on his first versions of a cantilevered chair with a tubular steel frame. The cantilevered chair had a curved frame that exploited the aesthetic, as well as the structural possibilities of this material. Their experiments culminated in the virtuoso Brno chair designed between 1929 and 1930 with a chromed flat steel frame. MR Chairs 1927 design Tubular chrome MR chairs by Ludwig Mies van der Rohe in black leather with a cantilevered frame. 6 available.


  • Condition
  • Dimensions

    H 31 in. x W 19.25 in. x D 27 in.

    H 78.74 cm x W 48.9 cm x D 68.58 cm

  • Seller location
    Pasadena, TX
  • Seller reference number
  • Reference number

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About Ludwig Mies van der Rohe (Designer)

Architect, furniture designer and educator, Ludwig Mies van der Rohe was a central figure in the advancement and promotion of Modernist design and architectural theory and practice. Like Frank Lloyd Wright and Le Corbusier, he was a hugely influential presence in the field, who shaped the course of 20th-century architecture both through his buildings and his teaching of rationalist design principles.

     Born in the medieval German city of Aachen, Mies found an interest in architecture as a boy while working for his father, a master stonemason. He had no formal education as an architect, but learned his skills as an apprentice to the designer Bruno Paul, and as a staffer in the office the proto-modernist architect and designer Peter Behrens. Following World War I, Mies rose to prominence in his field amid the liberal atmosphere of the Weimar Republic. His reputation was secured by his design for the German Pavilion at the 1929 International Exposition in Barcelona (commonly referred to as his Barcelona Pavilion), a radically simple, poetic, open-plan building pared down to its architectural essentials. Mies would go on to direct the Bauhaus from 1930 until 1933, when Nazi-government interference forced the closure of the progressive art and design school. Later that decade, he made his way to Chicago, where he remained for the rest of his career as a practicing architect and a dean of the Illinois Institute of Technology.

     Mies’s famed dictum “less is more” grew from his belief that architecture both guides and expresses the spirit of the times, and he envisioned the 20th century as open-minded, logical, transparent and liberated by technology. His best-known buildings — residences such as the Villa Tugendhat in Czechoslovakia and the Farnsworth House in rural Illinois; skyscrapers like the 860–880 Lake Shore Drive apartment towers in Chicago and the Seagram Building in New York — reflect that philosophy. As do his most famous furniture designs. Mies pieces such as the Barcelona chair, chaise and stools, or the cantilevered Brno chairs, deliver a maximum of comfort and support from a minimum of materials: their “lavishness” derives from the precision with which they are engineered and constructed. For the collector, the allure of Mies’s furniture is at once practical and idealistic. Useful and functional, his works embody the highest aspirations of modernism.

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