Desk by Wladyslaw Strzeminski

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Description

Neo-plasticism desk by Wladyslaw Strzeminski for his Plasticism room.
There are, as far as we know, only two copies made. … Read more Neo-plasticism desk by Wladyslaw Strzeminski for his Plasticism room.
There are, as far as we know, only two copies made. One is standing in the polish museum and the other one (the one you see here displayed) was made for the Van Reekum museum which was a precursor of the CODA museum in Apeldoorn - Netherlands with the consent of the Polish museum.


Strzemiński designed the furniture himself, but it was crafted (produced) by skilled craftsmen. The history of this furniture, however, is quite tragic and complex.
Here's the details of its design and production:
1. The Original Design (1948)
When Strzemiński designed the Sala Neoplastyczna (Neoplastic Hall) for the Muzeum Sztuki in 1948, he designed not only the patterns on the walls but also the furniture. This included:
Showcases and pedestals for Katarzyna Kobro's sculptures.
Benches for visitors.
Cabinets for documentation.
These pieces of furniture were an integral part of the "total work of art." He created the technical drawings and supervised the execution by professional cabinetmakers, ensuring that the colors and proportions precisely matched his vision.
2. Destruction by the Regime (1950)
Just two years after its opening, the hall was closed. The Stalinist regime considered abstract art "decadent" and "antisocial."
The walls were simply painted over.
The original furniture and display cases were destroyed or lost.
3. The Reconstruction (1960 and Later)
The furniture you see in the museum today is a faithful reconstruction.
In 1960, after the political "thaw" in Poland, the museum decided to restore the room to its former glory. Because the original furniture was no longer there, it was recreated based on:
Strzemiński's original design drawings.
Black-and-white photographs of the original arrangement.
Instructions from his students and colleagues who had seen the room in its original state.
In short: The objects you see today were not physically touched by his hands, but they are an exact representation of his intellectual and artistic heritage. They follow his strict rules for proportions and use of color (the neoplastic palette of red, blue, yellow, white, gray, and black). I have official proof of authenticity such as vintage catalogs,
designer records,
or other literature sources and take full responsibility for any authenticity issues arising
from
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