Design Masterworks 17 November 2016

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13

Gerald Summers


Rare Cut Ply Chair (CPC)

Makers of Simple Furniture
United Kingdom, c. 1934
white tinted plywood, upholstery, brass
17 w x 17½ d x 26 h in (43 x 44 x 66 cm)

result: $52,500


estimate: $30,000–50,000

provenance: Private Collection, London
literature: Furniture for the Concrete Age, Dunn, Mantz and Day, ppg. 61, 122

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Furniture for the Concrete Age

By Steve Dunn

Though Summers was not an architect like many who left their mark on furniture design history, he was nonetheless an architect of a highly reformist epoch. For him Modernism meant revolutionising his own field of endeavour to meet the prevailing Modernist ethos and social imperative for a new way of living. Summers fervently believed in the moral necessity to make new, ‘classless’ affordable furniture. He used plywood as a democratic material of true modernity, with vastly unexploited potential, and with his pragmatic, yet highly inventive approach, he was able to exploit this simple material to create furniture that would be functional, space-saving and affordable, yet, in form entirely radical and representative of a new enlightened age.

Unlike many furniture makers who produced pieces on a vast scale, Summers output was commission based, which resulted in many one-off or short run pieces—Aalto easily produced more in one year than Makers of Simple Furniture did in their entire existence. Summers’ innovative work with moulds in the early 30s predated the experiments undertaken by Charles and Ray Eames a decade later. His methods of bending laminated plywood were more advanced than Aalto’s — even with the mighty Korhonen factory behind him —and even Breuer’s precocious design talents were challenged by the countless structural issues he encountered as he translated much of his tubular steel work to plywood.

Marcel Breuer, Long chaise, birch plywood, c. 1935

The effervescent blaze of innovative work from Summers and Makers of Simple Furniture lasted barely 9 years, as war decimated London. Summers all but gave up furniture making in the post-war years—eager to support his young family he opened a ball-bearing factory. What did survive after the carpet bombing years of the Blitz, and a post modern world that rebelled against years of enforced austerity, are extraordinarily progressive, avant-garde designs that equal any of those from the Bauhaus, De Stijl and the Russian Constructivists.

Summers’ Bent Ply Armchair or BPAC from 1933 has long been recognised as a milestone of design, but this Cut Ply Chair or CPC of 1934/5 is in many ways equally original. The revolutionary appearance of this chair is an intricate play of organic forms: both the sides and elegant tapering spine are economically created from one ply piece. Only three small cross braces support its thin seat. The liberated openness and lightness of the structure creates a spatial indeterminateness and demonstrates Summers consummate understanding of structural stress-bearing forces. The form of this chair, interceded by 30 years similar explorations by Joe Colombo and Arne Jacobsen and is the only known surviving example of this extraordinary chair.