Sideboard by Fristho Franeker for Fristho, Netherlands, 1954

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Very nice and rare small sideboard designed by William Watting and manufactured by Fristho Franeker, The Netherlands 1954. Made from … Read more Very nice and rare small sideboard designed by William Watting and manufactured by Fristho Franeker, The Netherlands 1954. Made from teak wood, it features stylish black drawers and grey-painted door fronts, giving it a unique and modern look. Finished with nickel plated handles, their original and beautiful shaped keys in brass. The dark grey patinated brass feet are a nice feature, with a double structure that meets at the bottom, slightly pointing outwards for a light and airy feel. Its not only beautiful, it's practical too, offering plenty of storage options for your belongings. You can tell it's a quality piece with solid brass corners, and it’s marked with the Fristho tag on the left inside. 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. This piece has an attribution mark,
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