An oak dining suite, ca. 1938-40 Comprising an oak dining table and a set of six oak dining chairs, the table with a rectangular top above a pair of H-shaped supports joined by a plank stretcher, the throne chairs each with a high backrest with round wooden uprights, above a square cushion covered in light green silk, on four tapering plank legs joined by an H-shaped stretcher, the table and chairs marked 'bas van pelt'. These pieces are part of a dining room suite (comprising an oak table, six dining chairs and a sideboard [see lot 7513]), which was the last set of furniture Bas van Pelt designed before the arrival of World War II in the Netherlands. The striking play of vertical lines in the high backrests of the dining chairs are emblematic of the influence of the American architect and designer Frank Lloyd Wright. Wright's oeuvre impacted the work of a great number of The Hague designers such as Henk Wouda, Frits Spanjaard, Cor Alons and Jan Wils. Moreover, in Van Pelt’s choice for the warm and humble quality of wood we can also recognize the influence of Dutch Arts and Crafts tendencies, such as the work of Alexander Kropholler. It is this mindset that led Van Pelt to convert the simple steel tubular frame into a wooden equivalent. However, one key element that sets Van Pelt's designs apart from his colleagues is the element of doubt, as characterized by art historian Timo de Rijk. Van Pelt alternated modern influences with more traditional European forms and techniques, such as wicker seats and curved armrests. In these experiments, Van Pelt's work approaches much more the curvaceous style of designer Sybold van Ravesteijn, which deviated from the functionalist tendencies in the world of architecture and design during the 1920s and 1930s. This exact dining room suite was included in an exhibition of the Haagse Kunstkring (The Hague Art Circle) in the Gemeentemuseum, The Hague (the current Kunstmuseum) in 1941. While this exhibition was primarily organized to celebrate the 50th anniversary of the Kunstkring, it also facilitated the handover of the Kunstkring's building on the Lange Houtstraat to the German occupier. Moreover, the exhibition was also an opportunity to fill the empty rooms of the museum, a void that was a result of the removal and storage of undesirable art by the nazis. In 1949, the dining room suite was bought by the father of the current owner as a wedding gift for his wife, and has stayed in the family since.

An oak sideboard, ca. 1938-40 The rectangular top above three fall-front doors with circular handles, enclosing an interior with five open compartments and two shelves, on tapering plank legs. This piece is part of a dining room suite (comprising an oak table with six dining chairs [see lot 7512] and a sideboard), which was the last set of furniture Bas van Pelt designed before the arrival of World War II in the Netherlands. The striking play of vertical lines in the high backrests of the dining chairs are emblematic of the influence of the American architect and designer Frank Lloyd Wright. Wright's oeuvre impacted the work of a great number of The Hague designers such as Henk Wouda, Frits Spanjaard, Cor Alons and Jan Wils. Moreover, in Van Pelt’s choice for the warm and humble quality of wood we can also recognize the influence of Dutch Arts and Crafts tendencies, such as the work of Alexander Kropholler. It is this mindset that led Van Pelt to convert the simple steel tubular frame into a wooden equivalent. However, one key element that sets Van Pelt's designs apart from his colleagues is the element of doubt, as characterized by art historian Timo de Rijk. Van Pelt alternated modern influences with more traditional European forms and techniques, such as wicker seats and curved armrests. In these experiments, Van Pelt's work approaches much more the curvaceous style of designer Sybold van Ravesteijn, which deviated from the functionalist tendencies in the world of architecture and design during the 1920s and 1930s. This exact dining room suite was included in an exhibition of the Haagse Kunstkring (The Hague Art Circle) in the Gemeentemuseum, The Hague (the current Kunstmuseum) in 1941. While this exhibition was primarily organized to celebrate the 50th anniversary of the Kunstkring, it also facilitated the handover of the Kunstkring's building on the Lange Houtstraat to the German occupier. Moreover, the exhibition was also an opportunity to fill the empty rooms of the museum, a void that was a result of the removal and storage of undesirable art by the nazis. In 1949, the dining room suite was bought by the father of the current owner as a wedding gift for his wife, and has stayed in the family since.

A set of six stained ash 'Leggera' chairs, ca. 1957, Italy Each with a back with two slats, above a woven rattan seat, one chair with manufacturer's label 'Figli di Amedeo Cassina Meda Milano Italia'.

A model 207 rosewood desk, 1960s, Denmark The rectangular top with upward curving edges to the sides, above two suspended drawer units, labelled with 'Furnituremakers Danish control' and Sibast label, and marked with '207 50' number to the underside of the top.

A PK 22 red leather and steel lounge chair, 1999, Denmark Designed in 1956, the stitched leather back and seat on curved steel legs, the frame with manufacturer's label and the steel stamped 'Poul Kjaerholm Fritz Hansen Denmark'.

A pair of chromed steel cantilever chairs, ca. 1960-69, East Germany Each with black leather upholstered cushions, inspired by Ludwig Mies van der Rohe's Barcelona Chair.

A TC2 floor lamp, 1972, Netherlands An early model, numbered '15' twice to the underside. Only 127 numbered copies in white lacquered metal were made between 1972 and 1974.