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by Marcel Breuer, 1927 — from 1.445,00 €
Tecta D4

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1.525,00 € *
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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

Lucia Moholy: Exposures at Kunsthalle Praha

...2 A journey that includes stops in, for example, and amongst others, Weimar where Lucia and László moved in 1923 in context of László's appointment to the teaching staff at Bauhaus Weimar, and where, and as discussed from Lucia Moholy – The Image of Modernity at the Bröhan Museum, Berlin, early dabblings in photography, and early considerations that photography could, possibly, be a medium to which she, potentially, was particularly well suited, developed - sorry!... but we've got it out the way now, needn't return to it - developed into a profession, arguably a passion; a passion and a profession which, again arguably, was her primary creative occupation at first Bauhaus Weimar and subsequently at Bauhaus Dessau, be that in terms of photographing the works of students and the workshops, or in terms of photographing the buildings, for all those in Dessau, photos of buildings and works that, again as discussed from The Image of Modernity, for all that they are documentations of the buildings and works, and, certainly in terms of the works are today often the only version still in existence, the only surviving record, only documentation, they are also very much photographs that define and understand photography as more than just direct reproduction, as more than a still life or a landscape à la painting...

Bauhaus and National Socialism at Klassik Stiftung Weimar

...From the Bauhaus Museum Weimar you can see the Buchenwald concentration camp; from the Bauhaus Museum Weimar you can exactly locate the violence and inhumanity of the NSDAP... However from Bauhaus Weimar and Bauhaus Dessau and Bauhaus Berlin locating the NSDAP is a lot less straightforward; from the Bauhauses seeing the NSDAP is not as simple, the view towards the NSDAP being as it is partially hidden, lightly distorted, unfocussed, by the mists of an unquestioned post-War narrative...

Berlin Design Week 2024 Compact: Rowac

By the time the Peter-Behrens-Bau was inaugurated in 1917 Robert Wagner’s Rowac Schemel, one of the earliest seating objects crafted from lightweight sheet steel, had been on the market for almost a decade. If it was used in the workshops and offices of the...

5 New Architecture & Design Exhibitions for May 2024 "Lucia Moholy: Exposures" at Kunsthalle Praha, Czech Republic As noted from the Bröhan Museum, Berlin's, exhibition Lucia Moholy – The Image of Modernity, Moholy is not only an instructive example of how, why, so many inter-War female creatives slipped into an unjust anonymity, nor only an informative individual in context of how Bauhaus as an institution functioned on a daily basis, both during its existences and following its ultimate demise, but for all Lucia Moholy is an instructive and informative and interesting creative who should play a much more prominent role in contemporary dialogues and discourses than she currently does... brussels "Bauhaus and National Socialism" at Klassik Stiftung Weimar, Germany As oft noted in these dispatches, perhaps most directly in context of the Stadtmuseum Weimar's exhibition Mathilde von Freytag-Loringhoven...

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...

Lucia Moholy – The Image of Modernity at the Bröhan Museum, Berlin

...1 The photographs in question being of and from the Weimar and Dessau Bauhauses, photos which played, and continue to play, a not unimportant role in mediating Bauhaus to a wider audience... With Lucia Moholy – The Image of Modernity the Bröhan Museum, Berlin, help explain how such a situation came to be, why Lucia Moholy's lament is both justified and an important lesson, and also how it relates to popular understandings of Bauhaus...

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...

All 'Bauhaus', 'Marcel Breuer' Posts

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