Rudolf Glatzel Fristho highboard Netherlands 1962

Very elegant and minimalistic GLR-230 sideboard by Rudolf Glatzel and manufactured by Fristho in the Netherlands in 1962. This highboard rosewood veneer shows an amazing grain and red/brown colour scheme. To give contrast the highboard has stainless steel feet that carry the cabinet. Between the leg structure sits a plywood x-shaped connector that gives strength to the base. This connector is also executed in rosewood veneer. This highboard has plenty storage space. Inside there are two compartments on the left with a shelve with on the right side a compartment without shelve and one with three drawers. The top drawers interior is divided into four parts and is upholstered with a green fabric. To open the doors you use the invisible handles on the top and they close with a magnet. The feet can be slightly adjusted to the floor when this is a little uneven. It’s in very good refinished condition has only a bit of a vintage smell on the inside.

Similar low model of published in the Fristho book, page 103.

Fristho was founded in 1921 by Arnould Merckx, who harbored international aspirations and quickly collaborated with renowned designers, particularly from Scandinavia. Young designer Inger Klingenberg joined the team, and William Watting achieved great success with the Modernart series. During that time, Fristho stood out as the primary representative of Scandinavian design among Dutch furniture manufacturers. The distinction extended beyond just aesthetics, encompassing craftsmanship, material selection, and quality. While the general public embraced these furnishings, Danish design did not always find favor among the artistic segment of the industry, notably represented in the magazine Goed Wonen. Many considered the designs too traditional and harmonious, aiming for the cleaner lines of functionalism. However, Fristho demonstrated its ability to adopt a bolder, avant-garde style. In the latter half of the 1950s, the design duo Kho Liang Ie and Wim Crouwel were brought on board. They represented the sleeker functionalism that was sought after. Kho Liang Ie’s J-series, including a beautifully designed wall unit in rosewood, underscored Fristho’s new direction. By the late 1960s, this trend evolved. There was resistance to the strict functionalism, and a shift toward more romantic styles emerged. Fristho quickly adapted, introducing the Twen series—practical furniture targeted at a younger audience. This series included matching wall units, tables, and chairs in the characteristic colours and patterns of the flower-power era.

Fully refinished with high quality UV protection lacquer with preservation of authenticity. Also, completely structural checked and ready to use.