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S 64 / S 64 N Cantilever Chair
5 + 1
S 32 / S 32 N Cantilever Chair
5 + 1
S 64 Swivel Chair
S 32 PV / S 64 PV Pure Materials Cantilever Chair
5 + 1
S 32 N / S 64 N Pure Materials Cantilever Chair
5 + 1
S 43 F Classic Cantilever Chair
5 + 1
S 43 Classic Cantilever Chair
5 + 1
118 / 118 M Chair
5 + 1
S 533 Cantilever Chair
209 / 210 Chair
5 + 1
214 / 214 M Chair
5 + 1
118 F Chair
5 + 1
118 High Gloss Chair
5 + 1
S 43 Swivel Chair
S 32 V / S 64 V Pure Materials Cantilever Chair
5 + 1
404 / 404 F
S 64 V Dark Melange Cantilever Chair
5 + 1
S 32 V Dark Melange Cantilever Chair
5 + 1
S 32 L Cantilever Chair
S 360
S 33 / S 34 Cantilever Chair
214 K Chair
5 + 1
S 35 N All Seasons Lounge Chair
S 220
S 43 K Children's Chair
218 / 218 M Chair
S 34 N All Seasons Cantilever Chair
S 40 Outdoor Cantilever Chair
S 661
S 33 N All Seasons Cantilever Chair

Thonet Chairs

Thonet chairs in the Thonet production in Frankenberg/Eder

The German furniture manufacturer Thonet stands for furniture of the highest quality, and for all the Thonet chairs are considered endearing design classics. Thonet chairs can be roughly divided into two historic groupings: bentwood and tubular steel cantilever. The bentwood chairs were developed in the late 19th century by Michael Thonet, the tubular steel cantilevers come from the Bauhaus era in the 1920s and 1930s. In addition to their historic programme, Thonet also produce contemporary chair designs, including, for example, the 404 by Stefan Diez or the bar stool S 123 by James Irvine. Among the best known Thonet classic chairs are the so-called coffee house chair 214 by Michael Thonet from 1859 , the S 43 Classic by Mart Stam (1931) and the S 32 / S 64 by Marcel Breuer (1929-30).

More about 'Chairs' in our blog

The Historia Supellexalis: "W" for Wegneritis

...Chairs one as good as the next, each of which became New Normals, but which couldn't abate the Grcic Konstantin's creative itch...

A Chair and You at the Grassi Museum für Angewandte Kunst, Leipzig

...A Chair and Thierry Barbier-Müller that over the next 30ish grew to some 650 Chairs and Thierry Barbier-Müller and which occasionally became A Thierry Barbier-Müller Chair and Musée cantonal de design et d'arts appliqués contemporains, Mudac, Lausanne, when the later borrowed works from the former's collection for their exhibitions; contact between Thierry Barbier-Müller and Mudac which very naturally led to the question of the possibility of an exhibition of Barbier-Müller's collection, whereby, as Chantal Prod'Hom, Mudac's former director, and a key protagonist in the development of A Chair and You explains, simply presenting the chairs in groups on pedestals wasn't really an option... Chairs, Wilson reflects, are lines, shapes and colours in space...

Monobloc by Hauke Wendler

With furniture, as with so much in life, it is rarely the showy, high profile, works, or individuals, that teach us most, but those works, and those individuals, who in their anonymity and modesty accompany us in invisible silence. Or rather the anonymous and...

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

..."1 With the exhibition Chairs: Dieckmann!... 2 And indeed unlike Junge Dieckmann was a member of the NSDAP; and as Aya Soika convincingly discusses in the Chairs: Dieckmann!...

Bentwood and Beyond. Thonet and Modern Furniture Design @ the MAK – Museum für angewandte Kunst, Vienna

...For our part we were particularly perturbed by the claim in the section on Plastic Chairs that the high sales figures for Gerd Lange's early 1970s Flex 2000 indicate that "Thonet had its finger on the pulse of the plastic age" If there's one thing the Thonet (hi)story teaches us it is that "plastic age" (largely) passed them by, that having established the company on two material/technological innovations they missed a third, lest we forget, which we can't because they are two examples in the exhibition, in the 1950s & 60s Thonet cooperated with Verner Panton on wooden chairs, you do the math... A state of affairs Bentwood and Beyond with its inter-twinned specific and general discussions on 200 years of modern furniture design very convincingly, satisfyingly, underscores and reinforces; despite moments such as Plastic Chairs or Super Normal Bentwood and Beyond isn't a hagiographic celebration of Thonet, but a series of reflections on Thonet in context of wider realities, a series of reflections on the (hi)story of furniture design and the path to our contemporary furniture understandings through the conduit of Thonet, and for all an exhibition which tends to underscore and reinforce the truism that continually evolving social, cultural, economic, technical, et al realities not only carries design forth but defines, and continually redefines, our relationships to our objects of daily use, demanding the new, discarding the obsolete, the foolish, the faddish while preserving, nurturing, certain universal archetypes as it rolls onwards...

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