The model for this chair is the traditional overstuffed club chair, but all that remains is its mere outline, an elegant composition traced in gleaming steel. The canvas seat, back, and arms seem to float in space; the body of the sitter does not touch the steel framework. Breuer spoke of the chair as his “most extreme work . . . the least artistic, the most logical, the least ‘cozy’ and the most mechanical.” It was also his most influential piece of design, taking furniture in a radical new direction. Breuer had designed an earlier version in 1925, while teaching at the Bauhaus, the influential German school of modern art, architecture, and design in Dessau, and within a year designers everywhere were experimenting with tubular steel. Breuer claimed to have drawn inspiration from the tubular-steel handlebars of his bicycle, which were strong, lightweight, and mass-produced. He reasoned that if the material could be bent into handlebars, it could be bent into forms for furniture. The chair was dubbed the “Wassily” after the painter Vasily (or Wassily) Kandinsky, Breuer’s friend and fellow Bauhaus instructor, who had praised the design when it was first produced. - from MOMA.
30.75 W x 28 D x 28.25 H x 16.5 SH in
Chromium-plated tubular steel and original Eisengarn canvas.
Overall in good condition. The tubular steel frame with scattered pitting, losses, and oxidation to the plating, consistent with the aging process of the material and with use over time. The fabric upholstery panels shows evidence of over-stretching and sagging consistent with age and use. Chair shows traces of surface dirt throughout consistent with age. With original Eisengarn and replaced canvas, as seen in the catalogue illustration. The original Eisengarn armrests show discoloration and fading, consistent with the natural aging process of the material. The canvas with wear and surface soiling consistent with use. The tubular steel frame with a slight seam separation in the metal construction to the center base rail.
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$850 in the U.S.
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