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Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s

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  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 1
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 2
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 3
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 4
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 5
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 6
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 7
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 8
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 9
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 10
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 11
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 12
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 13
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 14
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 15
  • Mid-Century Dutch Nr. 1432 Easy Chair by André Cordemeyer / Dick Cordemeijer for Gispen Culemborg, 1960s 16

About This Piece

Vintage Design

Cordemeijer easy chair in brown leatherette. The chair shows traces of wear like damage of the upholstery on two spots on the back. Besides that the leatherette itself is in a fair to good condition. The upholstery of the seat and the back at the right side, does not meet perfectly, while at the left the upholstery of bothe parts is stitched. The base is quite good, although some tiny rusty spots. Weight 17 kg

Click here for full description Close description

* Please note that items made of Rosewood are subject to a special export process that may extend the delivery time an additional 2 to 4 weeks
Creator André Cordemeyer / Dick Cordemeijer
Manufacturer Gispen
Design Period 1960 to 1969
Production Period 1960 to 1969
Country of Manufacture Netherlands
Identifying Marks This piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources
Style Mid-Century
Detailed Condition Good — This vintage/antique item may have some wear such as scratches and other signs of ageing.
Restoration and Damage Details
Light wear consistent with age and use, Two points of damage to the upholstery, Some minor rust spots to the base
Product Code BO-668116
Materials Leatherette, Metal, Upholstery
Color Brown
Width 68 cm 26.8 inch
Depth 58 cm 22.8 inch
Height 74 cm 29.1 inch
Seat Height 16.5 inch
Duties Notice Import duty is not included in the prices you see online. You may have to pay import duties upon receipt of your order.

Shipping & Delivery

Ships from Netherlands
Duties Notice Import duty is not included in the prices you see online. You may have to pay import duties upon receipt of your order.
Returns Returns accepted within two days of delivery, except for Made-to-order items

Sustainability

Carbon Neutral For every purchase made, Pamono offsets 100% of estimated carbon emissions from global shipping.
Vintage Choosing vintage and antique furniture reduces your carbon footprint by cutting down on waste and reduces demand for new materials and extends the life of the products we use.

Delivery Options

Front Door Delivery:
(Included in Every Order)
  • A skilled driver will unload the item(s) from the delivery truck and bring it to your building’s doorstep. You will be responsible for further transport beyond that point. We recommend asking a family member or friend for an extra hand; alternatively, you may upgrade to In-Home Delivery (see below).
  • The delivery partner will email and/or call you at least one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.
In-Home Delivery:
(For in-home delivery service, additional fees apply. Please get in touch)
  • A skilled driver or a team of two will bring your item(s) inside your home and place it in the immediate entryway. For unusually large or heavy items, we recommend asking a family member or friend for an extra hand, as we cannot send more than 2 drivers.
  • The delivery partner will email and/or call you one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.

*Important Note

Please examine every order upon delivery. In the event that there are visible signs of damage or missing or incorrect pieces, please indicate the problem on the Delivery Note and contact us within 48 hours of delivery. A signed delivery receipt without notations of missing, damaged, or incorrect item(s) represents your acceptance of the complete order in perfect condition.

About the Creator

André Cordemeyer / Dick Cordemeijer

Born in 1924 in Bussum, Holland, André Robert (A. R.) Cordemeyer was a prolific Dutch industrial designer active in the 1950s and ‘60s, working chiefly for manufacturing brand Gispen. Limited verifiable information, however, is available about him today—and it is heavily debated whether or not Cordemeyer is the same person as Dutch designer Dick Cordemeijer, who designed the famous Cleopatra Daybed (1953-4) for Auping. One theory suggests that their biographical facts are often conflated because Dick Cordemeijer changed his name to André Cordemeyer after working for Auping. 

It is believed that in 1952 Dick Cordemeijer was hired as a technician by the mattress manufacturer Auping. Designing in the postwar boom era, Auping—which was originally founded in 1888 and known at the time for its innovative steel mattress production—began to collaborate with renowned Dutch designers, including Friso Kramer (b. 1922), Wim Rietveld (1924-1985), and Frans de la Hayes (b. 1943). In 1953, Cordemeijer designed the Cleopatra Daybed, which Auping produced until 1982. Minimalist in design, the Cleopatra was inexpensive to produce. Featuring a wire mesh base and a coated metal frame with solid teak ends, the design became an instant classic and remains one of Auping’s most successful designs to date, having sold over a million models worldwide. Although he designed alongside many prolific designers and other luminaries, the Cleopatra was the one and only design by Dick Cordemeijer.

Sometime around 1954, André Cordemeyer began to work for Gispen. At this time, W. H. Gispen had resigned from his position as head designer, and Wim Rietveld, son of Gerrit Rietveld, was already designing for the company. During their tenures at Gispen, the younger Rietveld and Cordemeyer both developed pared down, functionalist designs—often working in collaboration—with a focus on practical, affordable furniture for office interiors. 

The collaboration between Cordemeyer and Rietveld at Gispen was particularly successful in the 1407 Armchair (1954) and the 416 Easy Chair (1956)—both of which are highly sought-after on the vintage market today. Cordemeyer’s noteworthy solo designs for Gispen include the modular and colorful 5600 Storage System (1959); the molded plywood 1262 Chair (1959); the glass-topped 3637 Table (1959); the slimly upholstered 1409 and 1410 Armchairs (1959); the classic 1637 Swivel Chair (1963); and the molded plastic 2200 Seating Series (1967). Under Cordemeyer's design direction, Gispen also found great success with the 7800 Kleurodesks (1958), a series of lacquered steel desks with linoleum-clad tops that were a bestseller well into the 1960s.

Cordemeyer is credited with convincing Gispen to introduce polypropylene into its production sometime around 1956. As a result, Gispen was the first Dutch manufacturer to industrially produce plastic furniture.

Around 1957 or ’58, Rietveld left Gispen to pursue other projects, but Cordemeyer stayed on until sometime in the 1970s, when he took on engineering work for wind energy projects. During his career, Cordemeyer always sought to incorporate new production techniques and materials into his designs in order to propose the most efficient products for the postwar Dutch population.

 

About the Maker

Gispen

Willem Hendrik (W. H.) Gispen, a pioneer of Dutch functionalism, was born in Amsterdam in 1890. Prior to the outbreak of World War I, he studied design in the architecture department at the Academy of Visual Arts & Technical Science in Rotterdam. In 1916, he set up an eponymous metalwork shop dedicated to ornamental iron, brass, and bronze decorative arts. During these early years, Gispen produced objects in Expressionist and Art Nouveau styles.

In the 1920s, however, through encounters with influential theorists and practitioners of modernism—such as De Stijl architect J. J. P. Oud, Deutscher Werkbund architect Hermann Muthesius, and Purist architect Le Corbusier—Gispen’s firm increasingly moved toward mechanized production and rational, economical, minimalist designs. His geometrically reduced Giso Light (1926/7), now considered one of the Netherlands’ greatest design icons, was the culmination of his newfound commitment to functionalism. It was quickly followed by his first cantilevered, tubular steel chair, inspired by the work of Ludwig Mies van der Rohe and Mart Stam. Gispen’s marketing and advertising arms also adopted the vanguard spirit of the day through cutting-edge typography and collaged photos by the likes of graphic artist Paul Schuitema and photographer Jan Kamman.

Gispen’s successes in the 1920s were followed by years of hardship. The 1929 Wall Street Crash and the resulting Great Depression nearly sent the company into bankruptcy. In response, Gispen was reorganized, and naval architect W. van Osselen was brought in as co-director to develop a promising office furniture line in steel. Multiple patents lawsuits—from Stam and van der Rohe in particular—further hampered the company’s growth in the 1930s. Then, in the 1940s, W. H. Gispen was imprisoned for protesting the Nazi Kulturkammer censorship policies. In 1949, he resigned from his own company due to mounting artistic tensions with van Osselen, but he remained a consultant for Gispen until the 1960s. 

Gispen flourished in the 1950s and '60s, even after its founder's departure. In particular, the company found great success with the minimalist, rationalist designs of A. R. Cordemeyer and Wim Rietveld. Standout designs from the Gispen collection in the postwar era include the 1407 Armchair (1954) by Cordemeyer and Rietveld, Model 663 Storage System (1954) by Rietveld, Model Giso 4050 Lamp (1956) by Rietveld, 217 Chair (1957) by Rietveld and his father Gerrit Rietveld, 1262 Chair (1959) by Cordemeyer, and 1637 Swivel Chair (1963) by Cordemeyer.

W. H. Gispen's design career did not end upon his departure from the company. he went on to found another design manufacturing company, called Kembo, in 1953 and taught at the Koninklijke Academie in The Hague, among other design ventures

Today, Gispen operates under the name Gispen International BV and continues to reproduce W. H. Gispen’s original designs alongside evolving lines of office furniture. The Stedelijk Museum in Amsterdam organized the first exhibition dedicated to Gispen in 1981, which focused primarily on lamp designs from 1916 to 1949. The Giso Model 404 Piano Lamp (1927/28), designed by Oud and Gispen and produced by the Gispen firm, can be found in a number of museum collections, including the Cooper Hewitt and MoMA in New York and the Wolfsonian in Miami.

 

*All images courtesy of Gispen

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Black Stool by Tjerk Reijenga for Tomado/Pilastro, 1966
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