PRODUCTS ROOMS Manufacturers & Designers Highlights Offers Info Stores
Tecta Logo

Click here for more images  
1.465,00 € *
2 x in stock, delivery time 2-3 working days (country of delivery Germany)
3 % advance payment discount*: 1.421,05 € (Save 43,95 €)

The D4 by Marcel Breuer through Tecta can, in effect, be referred to as the foldable brother of the Wassily chair. Originally named B4, this elegant folding chair presents itself as a mobile version of the steel tube lounge chair and thus a version which can be used when and where it is needed. The background behind and the materials used make the D4 an example of Bauhaus furniture par excellence.


Product type Collapsible armchair.
Dimensions Width: 78 cm
Depth: 61 cm
Height: 71 cm
Seat height: 38 cm

The seat height can vary due to production conditions, the dimensional stability of the material and the hook-in height of the seat surface.
Colours Iron thread

Bauhaus Straps

Material Frame: steel tubing , chrome plated
Seat and back: Belts, available in Bauhaus fabric (100 % polyacrylic) or iron thread
Function & properties Foldable and thus space-saving storage
360 Video
The re-editions of Bauhaus models produced by Tecta are approved by the Bauhaus Archive in Berlin and bear the Bauhaus signet designed by Oskar Schlemmer.
Care To clean the frame, we recommend a soft, damp cloth
The fabric covers can be carefully vacuumed
Please treat leather surfaces regularly with a suitable leather care product
Awards & museum Since 1980 part of the Permanent Collection of Museum of Modern Art (MoMA), New York
Warranty 24 months
Product presentation

Popular versions

D4, Bauhaus Straps, mud brown
D4, Cavalry cloth, red
D4, Bauhaus Straps, rose
D4, Bauhaus Straps, black

More about 'Bauhaus', 'Marcel Breuer' in our blog

Klassik Stiftung Weimar Theme Year 2023: Wohnen

...In context of the 1923 Bauhaus exhibition in Weimar, that first wide-ranging presentation of the school, its work and its understandings of itself and the world in which it existed, the institute presented with the Haus am Horn by Georg Muche and its interior, furniture, fittings and accessories by the likes of, and amongst others, Erich Dieckmann, Alma Buscher, Otto Lindig, Benita Otte or Marcel Breuer, a synopsis of the prevailing understandings of and positions to domestic arrangements and domesticity amongst the Weimar Bauhäusler... A contribution to furniture (hi)story, to relationships with furniture, those brave young things at Bauhaus Weimar seemed to have missed in their open disdain for the Weimar of yore and their striving headlong forwards; if only they'd listened a little more to the contemporaneous counsel of a P...

Haël. Margarete Heymann-Loebenstein and her workshops for decorative ceramics 1923-1934 at the Bröhan Museum, Berlin

...The popular Bauhaus focus, preoccupation, of discussions on creativity in the 1920s very naturally leads to us all ignoring other important protagonists, causes us all, when oft unwittingly, to miss other equally valid, and enjoyable, paths to appreciations of developments in craft, design, technology and our objects of daily use in the early decades of the 20th century, that important, and still very relevant, period where handwork increasingly ceded to industry... Haël, is and was essentially a platform for Margarete Heymann-Loebenstein, a creative who, while still Margarete Heymann, had learned her craft, her art, and who began to develop her positions and her approaches, during periods at the Kunstgewerbeschule Köln, the Kunstakademie Düsseldorf and Bauhaus Weimar, or more specifically the Bauhaus ceramics workshop in Dornburg under the direction of Gerhard Marcks, before, together with her, then, husband Gustav and brother-in-law Daniel as the more business orientated components of the partnership, establishing Haël, and that at the age of just 24...

5 New Architecture & Design Exhibitions for July 2023

...Works, some 250 of which, are however very much the focus of the Bröhan-Museum's exhibition; works created, as the title neatly implies, between 1923 and 1934, that, all too brief, period after her training at the Kunstgewerbeschule Köln, Kunstakademie Düsseldorf and Bauhaus Weimar and before her enforced resettlement to, and attempted restart in, England... And works realised in context of the Haël-Werkstätten für künstlerische Keramik that Heymann-Loebenstein, together with her, then, husband and brother-in-law, established in Marwitz, to the north of Berlin, and where she produced works reflective of her own take on the realities of the day and the required responses thereto; works that, should, will, help underscore not only that Bauhaus was school not a style, a school not an era, but also that Modernist orientated ceramics and objects of daily use in the 1920s and 30s were colourful, expressive, alive and also reduced and function focussed...

Yrjö Kukkapuro – Magic Room at Espoo Museum of Modern Art, EMMA

...Kukkapuro developing an ice hockey stick chair that is a very nice twist on the, in all probability apocryphal, story of Marcel Breuer being inspired by bicycle handle bars to employ steel tubing in furniture; an ice hockey stick chair that introduces, and very efficiently elucidates, various formal, aesthetic and constructional aspects that are of such importance in the Yrjö Kukkapuro oeuvre... Plexiglass which also features, alongside tubular steel, in a 1969 cantilever chair which takes up Marcel Breuer's vision of us one day sitting on a "resilient column of air"2, and not only allows one to approach that day via, as Breuer did, the inherent elasticity of the cantilever, but also to approach that day via the transparent seat shell, a conceit which means you are almost literally floating on air...

Chairs: Dieckmann! The Forgotten Bauhäusler Erich Dieckmann at Neuwerk 11, Halle

...In which context one of the more interesting comparisons one can frame Dieckmann in is that with Marcel Breuer: the two were fellow students in the Weimar carpentry workshop under Gropius; they shared responsibility for the majority of the furniture and interior design of the Haus am Horn show home presented at the 1923 Bauhaus exhibition; both had a hang in their furniture to a constructivist rationalisation; both passed their Gessel exam in 1924... A state of affairs which on the one hand, arguably, is related to the fact Breuer moved not only to Dessau but to America, and thus post-War when Bauhaus, largely the Dessau incarnation, was raised by the MoMA New York to its near mythical position in the pantheon of design, when all other inter-War German design schools were wiped in a single sweep from the narrative of furniture design (hi)story, when Bauhaus became the synonym for inter-War design in Germany, Marcel Breuer was very visible...

Eames Lighting Design... Or, A search for light in the Eames Universe...

...Wandering aimlessly through the digital Marcel Breuer Archive one afternoon, we stumbled across a letter dated July 25th 1950 from Peter M Fraser, one of Breuer's employees, to the Eames Office, enquiring about a lighting design by Charles and Ray that Breuer was interested in using in one of his architectural projects, and requesting... And brings us back to Marcel Breuer...

Decoration as Trespass? @ the Werkbundarchiv - Museum der Dinge, Berlin

...Completing the Werkbundarchiv - Museum der Dinge's trio of exhibitions exploring developments in design understanding(s), the development of design vocabularies, in the early decades of the 20th century through the twin perspectives of the Deutsche Werkbund and Bauhaus: an, if you will, exhibition triangle as opposed to cycle, that began with Commercial Design instead of Applied Art?... also features works by three named designers: Martha Katzer, who in the inter-War years was particularly associated with the Majolika ceramic works in Karlsruhe and where she is popularly credited with introducing and advancing spray decoration; Artur Hennig who aside from his own work is also presented through his teaching at the State Ceramics College Bunzlau and mention of the developments of the spray decoration process and spray pistol aesthetics he and his students developed; and Margarete Heymann through examples of her work for her Haël-Werkstätten für Künstlerische Keramik in Marwitz, work which reminds of the exhibition Bauhaus in Brandenburg at the Dieselkraftwerk Cottbus, which in addition to objects by Margarete Heymann also features brightly coloured, hand-painted, works by Werner Burri and Theodor Bogler for the Steingutfabriken Velten-Vordamm...

All 'Bauhaus', 'Marcel Breuer' Posts

You may also like these articles

Wassily Chair
Laccio Table
S 32 / S 32 N
Set B 9