JOSEPH BEUYS

DONALD JUDD

LIAM GILLICK

SOL LEWITT

GERHARD MERZ

RACHEL WHITEREAD SCHELLMANN FURNITURE ARTISTS’ FURNITURE JOSEPH BEUYS

In 1953-54 Beuys designed some pieces of furniture for a collector in Düsseldorf, three tables and a shelf. In 1967 one of these tables, Monk, was transformed into a work of art and installed in the Block Beuys in Hessisches Landesmuseum Darmstadt. The other pieces are still in daily use — now in Athens — by the collector for whom they were conceived. Researching details of Beuys conception of these pieces, Eva and Wenzel Beuys discovered complex contexts and links into the artistic oeuvre of Joseph Beuys. They were put down in the publication, Three Tables For Use? Beuys Leonardo Platon. A Conversation. The three tables and the bookshelf, Royal Pidge-Pine, are now being produced for the first time in editions of 30. Furthermore, we are producing a lamp in an unlimited edition, which Beuys had built himself for his own use in his studio. JOSEPH BEUYS

TABLE I MONK 1953 PEARWOOD AND EBONY, WITH DRAWER. 75 X 83.5 X 64.5 CM LIMITED TO AN EDITION OF 15 JOSEPH BEUYS

TABLE II TÊTE 1953–54 PEARWOOD AND EBONY. 55 X 92 X 65 CM LIMITED TO AN EDITION OF 15 JOSEPH BEUYS

TABLE III CHEST 1953 PIDGE PINE, WITH TWO DRAWERS. 76 X 133 X 57.5 CM LIMITED TO AN EDITION OF 15 JOSEPH BEUYS

ROYAL PIDGE-PINE 1953 PIDGE PINE BOOKSHELF. 266 X 220 X 34 CM LIMITED TO AN EDITION OF 15 JOSEPH BEUYS

LAMP 1960 METAL TRIPOD, CERAMIC SOCKET AND METAL REFLECTOR HEIGHT ADJUSTABLE FROM 75 TO 210 CM UNLIMITED EDITION LIAM GILLICK

The work of Liam Gillick (living and working in London and ) breaks through the genre- and media-specific boundaries of the visual arts. He undertakes architectural and structural, spatial interventions, creates minimalist objects, as well as graphic works and wall , extensive literary activity, film music and theatre-like scenarios. In all its forms of expression, his work is an ongoing study of structures that mould our cultural and political reality. He uses these as a “vocabulary of forms”, examines history as to its alleged progressive suggestions for designing and moulding societies and sets them up for debate as potential utopian models. LIAM GILLICK MULTIPLIED DISCUSSION STRUCTURE 2007 POWDER-COATED ALUMINUM 41 X 61 X 245 CM THREE COLOR VARIATIONS LIMITED TO AN EDITION OF 100 LIAM GILLICK

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SHELF SYSTEM 2008 POWDER-COATED ALUMINUM 10 X 20 X 100 CM EA. SHELF CONSISTING OF 6 ELEMENTS TO BE MOUNTED ONTO THE WALL. 3 DIFFERENT COLOR COMBINATIONS LIMITED TO AN EDITION OF 100

BOOKENDS, 10 X 10 X 10 CM, BLACK, OPTIONAL

Since the 1970’s Donald Judd, a protagonist and one of the most influential artists of the Minimal Art movement, designed and produced approximately 100 pieces of furniture. After the artist’s death these pieces continue to be produced by the Judd Foundation, Judd Furniture, New York, and are distributed piece by piece to selected collectors and dealers including Schellmann Furniture, Munich. DONALD JUDD

DAYBED 1979 PINE WOOD (WITH CANVAS MATTRESS). 112 X 115 X 203 CM DONALD JUDD

BOOKSHELF 1984 PAINTED ALUMINUM. 100 X 50 X 100 CM DONALD JUDD

DESK AND TWO CHAIRS 1992 PLYWOOD. DESK 76 X 84 X 122 CM, CHAIR 76 X 38 X 38 CM SOL LEWITT SOL LEWITT Sol LeWitt (American, 2928-2007) is regarded as a founder of both Minimal and . His interest was focused on basic geometrical forms and struc- tures out of which he deleloped a system: “There are several ways of constructing a work of art. One is by making decisions at each step, another by making a sys- tem tomake decisions.” LeWitt made a number of pieces of furniture. The white painted version of the table shown here reflects the appearance of his early sculp- tural structures - minimal modular constructions of squares and cubes painted white looking like architectural studies or scale models.

COFFEE TABLE 1981 PAINTED WOOD AND GLASS, 47 X 122 X 122 CM. UNLIMITED EDITION. GERHARD MERZ

Since 1980, Gerhard Merz has been intrigued by the idea of the Studiolo, a study of princes and noblemen in Renaissance times furnished with objects of art and science. Following this concept that was later explored by artists and architects, Merz created several works consisting of , T-square, light, and desk. Now, for Schellmann Furniture, Merz suggests a functional Study.

STUDY 2008 SHELF WITH PAINTED GLASS IN SIX COLOR VARIATIONS: NAPLES YELLOW, IVORY BLACK, DUST GRAY, RED LEAD, ROMAN OCHRE, AND COBALT GREEN. DESK WITH GLASS PLATE. FUORESCENT LIGHT FIXTURES; OVERALL DIAMETER ACCORDING TO THE SPACE, HERE 430 CM. LIMITED TO AN EDITION OF 10 GERHARD MERZ

IVORY BLACK 2008 RED LEAD 2008 SHELF. PAINTED MDF, BLACK GLASS AND SHELF. PAINTED MDF, BLACK GLASS AND IVORY BLACK PAINTED GLASS RED LEAD PAINTED GLASS 180 X 40 X 300 CM 180 X 40 X 300 CM

NAPLES YELLOW 2008 SHELF. PAINTED MDF, BLACK GLASS AND NAPLES YELLOW PAINTED GLASS 180 X 40 X 300 CM GERHARD MERZ DESK 2008 PAINTED MDF AND OPTI-WHITE GLASS. 75 X 90 X 270 CM OR 75 X 100 X 300 CM LIMITED TO AN EDITION OF 10

LIGHT 2008 CIRCULAR FLUORESCENT LUMILUX 11 LIGHT FIXTURES 60 CM; DIMMABLE. OVERALL SIZE ACCORDING TO THE SPACE RACHEL WHITEREAD

Like Artschwager, Whiteread considers furniture and its forms and connotations as the starting point for much of herartwork for the last twenty years. As she acknowledges, she uses „furniture as ametaphor for human beings.“ In 1988, for her first gallery exhibition, Whiteread bought three pieces of used furniture and filled them with wet plaster, removing the wood when it had set. What remained were the spaces in between and around the furniture. Whiteread has since cast beds, baths, sinks, floors,doors, stairways, whole rooms, and building exteriours in plaster, rubber,and wax. Her work makes the negativespace – the container of memo- ries – visible. By casting from specific objects, Whiteread is able to capture the marks of „the life in which they had a function.“ To produce the shelve illustrated here, a packing polystyrene element for an Apple computer – a negative shape to hold the object – was recast in white polyuretane. RACHEL WHITEREAD

POLY SHELF 2009 POLYURETANE, WITH TWO-WAY METAL HANGING BRACKETS. 15 X 66 X 23 CM LIMITED TO AN EDITION OF 300. LAMP 2009 BRONZE, PORCELAIN, BULB. RACHEL WHITEREAD 41.5 X 8.5 CM Ø LIMITED TO AN EDITION OF 60. Published at the occasion of SCHELLMANN FURNITURE Qubique AINMILLERSTRASSE 25 80801 MÜNCHEN Furniture Design tradeshow TEL 089-3866 6080 FAX 33 28 00 Berlin Tempelhof Airport [email protected] October 26 – 29, 2011 WWW.SCHELLMANNART.COM SCHELLMANN FURNITURE