J.J.P Oud easy chairs Rotterdamse Spaarbank Netherlands 1960

This ultra-rare pair of easy chairs, designed by Dutch architect Jacobus Johannes Pieter Oud (commonly known as J.J.P. Oud) for the Rotterdam Spaarbank in 1960, exemplifies a unique blend of functionality and aesthetic form, typical design by an architects mind. Originally created for the interior of the Spaarbank in Rotterdam, these chairs feature matte chrome-plated tubular metal frames with black-painted wooden feet, a sleek and understated look that emphasizes their modernist roots. The recent reupholstery respects the original two-tone design documented in the literature, maintaining the authenticity and historical value of these pieces and ensuring undisciplined comfort when using them.

The design is minimalist and rectilinear, yet the rounded headrest adds a surprising element, giving the chairs an unexpected twist that’s visually intriguing. The brushed tubular frame—a hallmark of Oud’s design language—provides a crisp contrast to the soft, upholstered seating, embodying his commitment to functional, yet poetically expressive, forms.

Jacobus Johannes Pieter Oud, often called J. J. P. Oud (9 February 1890 – 5 April 1963) was an important Dutch architect. His fame began as a follower of the De Stijl movement. Oud was born in Purmerend, the son of a tobacco and wine merchant. As a young architect, he was influenced by Berlage, and studied under Theodor Fischer in Munich for a time. He worked together with W.M. Dudok in Leiden, which is where he also met Theo van Doesburg and became involved with the movement De Stijl.

Between 1918 and 1933, Oud became Municipal Housing Architect for Rotterdam. During this period when many laborers were coming to the city, he mostly worked on socially progressive residential projects. This included projects in the areas of Spangen, Kiefhoek and the Witte Dorp. Oud was one of a number of Dutch architects who attempted to reconcile strict, rational, ‘scientific’ cost-effective construction technique against the psychological needs and aesthetic expectations of the users. His own answer was to practice ‘poetic functionalism’.

Oud’s easy chairs are rarely seen outside of museums and are highly sought after by collectors, especially as a functional pair. These chairs, emblematic of Oud’s influential approach, are a significant acquisition for anyone passionate about mid-century modern design and architectural history.

Literature: J.J.P. Oud architect, Elisabeth Reinhortz-Tergau, page 159-168