MARCEL BREUER (1902-1981) - photo 1
MARCEL BREUER (1902-1981) - photo 2

MARCEL BREUER (1902-1981)

Lot 35
29.11.2023 14:00UTC +01:00
Classic
Starting price
€ 40 000
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1088617
Lot 35 | MARCEL BREUER (1902-1981)
Estimate value
€ 40 000 – 60 000
MARCEL BREUER (1902-1981)

Fauteuil 'TI 1a', le modèle créé en 1922

Noyer, merisier et tissu / walnut, wild cherry and fabric

96 x 57 x 57,5 cm / 37 ¾ x 22 3⁄8 x 22 5⁄8 in

Portant l’inscription manuscrite […] N°TI M. A. Z. sur une étiquette au revers de l’assise





Provenance

Collection Max Alfred Zschunke, Weimar, vers 1930, puis dans la famille par descendance.



Literature

Pour le même modèle :

H. M. Wingler, The Bauhaus, Weimar, Dessau, Berlin, Chicago, The MIT Press, Cambridge, 1969, p. 307, 386, 424.

J. Van Geest et O. Macel, Stühle aus Stahl, Metallmöbel 1925-1940, Walter König, Cologne, 1980, p. 19.

C. Wilk, Marcel Breuer, Furniture and Interiors, catalogue d'exposition, The Museum of Modern Art, New York, 25 juillet-15 septembre 1981, p. 24, 41.

The Bauhaus: Masters and Students, Barry Friedman, New York, 1988, p. 48.

M Droste, M. Ludewig and Bauhaus Archiv, Marcel Breuer Design, Benedikt Taschen, Cologne, 1992, p. 6, 46, 47.

C. Wolsdorff, 'Bauhaus-Möbel: Eine Legende wird besichtigt. Ausstellung im Bauhaus-Archiv, Berlin', Kultur Berichte, mars 2002, p. 32.

Bauhaus-Möbel: Eine Legende wird besichtigt, catalogue d’exposition, Bauhaus-Archiv, Berlin, 31 octobre 2002-10 mars 2003, p. 6, 8, 86, 90, 92, 102.

Marcel Breuer, Design and Architecture, catalogue d’exposition, Vitra Design Museum, Weil am Rhein, 2003, p. 57, 117.



Further details

Dessiné en 1922 et affiné en 1924, le fauteuil TI 1A de Marcel Breuer forme de ses 18 tasseaux de bois un maillage aérien qui semble échapper à toute gravité, où accotoirs comme dossier s’aventurent en porte-à-faux. A sa création, le jeune designer hongrois a tout juste vingt ans et est encore étudiant dans l’atelier de menuiserie du Bauhaus. S’il a déjà réalisé plusieurs assises, ce n’est que depuis 1921 qu’une influence primordiale teinte son œuvre : De Stijl. Le mouvement néerlandais fait débat dans les rangs de l’école de Weimar jusqu’à sa direction, ses formes géométriques épurées et abstraites inspirent pourtant le travail de Breuer qui réalise pour la maison Sommerfeld un an avant notre modèle, un fauteuil cubique (1921). Puisant plus profondément encore dans l’esthétique de De Stijl, en se référant notamment à l’emblématique Chaise Rouge et bleue de Rietveld (1917), Breuer ordonne la structure de son assise comme un tableau de Piet Mondrian, il s’en distingue cependant en recherchant le confort de l’utilisateur. Là où Gerrit Rietveld pose l’utilisateur à même les surfaces dures et planes du contreplaqué, Marcel Breuer le suspend sur des toiles tendues, un principe qu’il ne cessera de réemployer, notamment sur son assise la plus emblématique, le fauteuil B3, dit « Wassily » (1925). Notre version, la seconde mise au point par Marcel Breuer, bénéficie de tasseaux standardisés pour l’ensemble de la structure, où seule la longueur des planches est modifiée selon l’usage retenu, facilitant la construction et abaissant les coûts. Resté dans la famille de son propriétaire d’origine, le vimarois Max Alfred Zschunke, cette assise constitue un jalon fondamental dans la carrière de Breuer.


Created in 1922 and refined in 1924, Marcel Breuer's TI 1A armchair, with its 18 wooden slats, forms an aerial mesh that seems to escape all gravity, where both cantilever armrests and backrest. At the time of its creation, the young Hungarian designer was just twenty years old and still a student in the Bauhaus carpentry workshop. Although he had already designed a number of seats, it was not until 1921 that his work came under the influence of De Stijl. The Dutch movement was debated within the ranks of the Weimar school right up to its leadership, yet its pure, abstract geometric forms inspired Breuer's work, as he produced a cubic armchair for Sommerfeld a year before our model (1921). Drawing even more deeply on the aesthetics of De Stijl, with particular reference to Rietveld's emblematic Red and Blue Chair (1917), Breuer organized the structure of his seat like a Piet Mondrian painting, yet he distinguished himself from it by seeking out comfort for the user. Where Gerrit Rietveld placed the user on the hard, flat surfaces of plywood, Marcel Breuer suspended him on stretched canvas, a principle he would use again and again, notably for his most emblematic seat, the B3 armchair, known as "Wassily" (1925). Our version, the second one developed by Marcel Breuer, benefits from standardized cleats for the entire structure, where only the length of the planks is modified according to the chosen use, facilitating construction and lowering costs. Remaining in the family of its original owner, the Weimar dweller, Max Alfred Zschunke, this seat represents a fundamental milestone in Breuer's career.
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28.11.2023
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