Katie Stout, United States, 2020
"Bonnet Chair 1." Unique chair made from 3M reflective fabric, vinyl, batting, and organza. Designed and made by Katie Stout, 2020.
39" L x 21" W x 22" H
99.1cm L x 53.3cm W x 55.9cm H
CH1268
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Verner Panton, Denmark, 1956
Verner Panton. Set of Eight (8) S-chairs, model 276. Designed 1956, these examples manufactured ca. 1965. Manufactured by A. Sommer, Germany. Retailed by Thonet, Frankenberg, Germany. Aniline-dyed beech plywood.
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Gianni Pettena, Italy, 1971
Set of four (4) "Wearable Chairs" in plywood and cotton strapping. Designed and made by Gianni Pettena, Italy, 1971.
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Marcel Breuer, London, 1936
Early dining chair in walnut and birch plywood. Designed by Marcel Breuer and manufactured by The Isokon Furniture Company, London, 1936.
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Luam Melake, USA, 2021
"Occasional Table, Bench, Chair" in urethane, plywood, polyurethane foam, and dyes. Designed and made by Luam Melake, USA, 2021.
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Verner Panton, Denmark, 1965
S-chair, model 275. Designed 1956, this example manufactured ca. 1965. Manufactured by A. Sommer, Germany. Retailed by Thonet, Frankenberg, Germany. Aniline-dyed beech plywood.
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Jon Brooks, USA, 2018
"Ball Chair" in white pine. Designed and made by Jon Brooks, USA, 2018.
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Sérgio Rodrigues, Brazil, 1973
Set of 12 wood dining chairs with white upholstery. Designed by Sergio Rodrigues, Brazil, circa 1973.
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Joaquim Tenreiro, Brazil, circa 1947
Cadeira de Três Pés (Three-legged chair) made with Rosewood, Imbuia, Ivorywood, Roxigno, and Amendoim, bonded laminated frame with solid lathed joints and legs. Designed by Joaquim Tenreiro, Brazil, circa 1947.
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A feat of craftsmanship, Joaquim Tenreiro's three-legged chair bears the hallmarks of his modernist approach to form and strict material principles. The model was constructed in variants with two, three, four, and five different kinds of wood, which required a deep knowledge of craftsmanship and intimacy with the way different species behave
under varying environmental and technical circumstances. What differentiates Tenreiro from many of his contemporaries is that he was both a designer and a master craftsman. Because he was a designer, Tenreiro understood the history of the field. The shape of this chair references an art deco slipper chair, while the vertical lines going upward evoke such movement that one even thinks of streamlining. At the same time, the carving of the chair creates perfect ergonomics while also pushing materials to their limits, something only a true maker could achieve.