The New Zealand Modern Collection
Presented by Mr. Bigglesworthy
Design is important; we can live better with design than without it Ernst Plischke, Design and Living, 1947, published by the New Zealand Department of Internal Affairs
Credits Location Photography | Stephen Tilley Artworks by Ralph Hotere and Gretchen Albrecht | Courtesy of Bowerbank Ninow Featured Rugs by Darryn George, Martin Poppelwell, Michael Reed and Riduan Tompkins | Dilana Upholstery Fabric | James Dunlop Textiles Product Photography | Dan Eagle Art Direction, Design | Emma Eagle PR Representation | Caroline Brown at PROCESS Text Reference | Douglas Lloyd Jenkins At Home – A Century of New Zealand Design, 2004
Introduction Marking five years since the opening of their Mr. Bigglesworthy store, Dan and Emma Eagle are proud to present a collection which is dedicated to design from New Zealand. The New Zealand Modern Collection tracks the progressive thinking of modern design, which was translated to furniture and objects by a series of leading designers and architects from the 1940s to the 1970s. The modernist designers themselves were variously migrant Europeans, back yard shed tinkerers, architects and artisans. Forward thinking stores and furniture manufacturers also feature. These companies either imported or created furniture which catered to a taste for the new. The New Zealand Modern Collection represents the culmination of several years the Eagles’ have spent collecting rare and unique early local design. It offers a variety of designed responses to the question of how to adapt modernist thinking to a New Zealand context. The Collection includes work by some of mid century New Zealand’s brightest and best creative minds.
A Short History It takes time to form an identity. Being a young, far flung British colony, New Zealand was quite happy to reference the motherland for most of it’s early life. Design and architecture that corresponded closely with the prim and proper British colonial style was the order of the day. In the 1930s, forward thinking European migrants to New Zealand found their new ideas for modern living and architecture didn’t get much support from locals – usually quite the opposite. The European led, modernist direction was a seen as a ‘dangerously subversive import’ in the uncertain times of the Great Depression and World War Two. This didn’t stop brave individuals from pushing forward and sharing their ideas with a fringe group of like-minded friends and family. They built new, open plan houses that maximised living space, opened up dark walls with windows and created kitchens suited to modern lifestyles. When these pioneering architects couldn’t find furniture that suited the modern way of living, they created their own. These developments ushered in a new way of living in New Zealand. By the late 1940s, cutting edge architects and designers began to consider a unique identity, which referenced modern life in New Zealand. The international style of modernism developed into more of a reference point rather than a strict direction, which was interpreted in conjunction with local influences and materials. This new direction became known as Pan Pacific Modernism. It was the seed of an idea that became a movement which still remains a current thread through contemporary design today.
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McClew House, Ken Albert To photograph The New Zealand Modern Collection, Dan and Emma Eagle selected McClew House, in the Auckland suburb of Orakei, as the location. This elegant, linear masterpiece sits at the top of a steep site which allows spectacular views over the city. The house was built in 1966 by gifted architect Ken Albert for a University lecturer and his family. Unlike the houses around it, McClew house features a bold pavilion-style form with expansive floor to ceiling glass, open plan living and cantilevered balconies. It’s a
daring statement of design and an important example of New Zealand’s mid century architectural legacy. “When we first saw the McClew house perched high on the site above us we were instantly captivated,” say Dan and Emma. “The house has a serious, almost imposing presence but at the same time you want to quickly scale the side of the hill, enter the house, pour a cocktail and take in the stunning views from this mid century masterpiece”.
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The Collection
Airest Airest is synonymous with New Zealand made furniture of the mid 20th century. The company was established in 1948 by Ces Renwick. Renwick also became head of the Furniture Manufacturers Association, offering him the ability to stay on top of the latest furniture design trends. With such great credentials, the company quickly acquired a large share of the market for contemporary furniture. Airest furniture was stylish and affordable, designed for middle class suburban New Zealanders who appreciated contemporary design. The 1950s was a great era for Airest designs; the company took cues from bold international designers such as Vladimir Kagan and adapted them for the local market. During the ‘60s, Airest focused on more conservative, Danish influenced designs that appealed to a wider audience. This direction spurred the company to become New Zealand’s largest furniture maker. By the end of the decade, Airest furniture was a staple item in most homes throughout the country.
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R35 Sofa by Airest / 1950s
Mahogany, Rattan, Upholstered with K5115/11 ‘Fade Smoke Blue’ Designer Fabric 17
‘Bahama Chair’ by Airest / 1950s 18
Mahogany, Original Upholstery
‘Sofarest Settee’ by Airest / 1950s
Oak, Upholstered with Divino ‘Neptune’ Designer Fabric 19
Jon Jansen The Jon Jansen legacy began in 1951 when toymaker Lincoln Laidlaw opened the first store in Auckland’s Queens Arcade. Although Laidlaw was a successful toy manufacturer, he became interested in modern design through overseas travel. This was developed further by the influence of his sister Lillian Chrystall, who was a leading proponent of contemporary architecture and design in New Zealand. In the early 1950s, New Zealand homes were dominated by bulky furniture that was often poorly made and covered with superfluous decoration. Laidlaw’s aim was to provide furniture and design inspired by modernist principles – lightness of form, quality materials and thoughtful forms which were relevant to contemporary living. Laidlaw realised his dream by importing and producing furniture under licence by some of the best international designers. These pieces were displayed alongside in-house designs from leading local designers. The Jon Jansen store was a resounding triumph. The initial flagship store became a three story emporium and additional stores were opened across the country.
Stacking Side Table by Bob Roukema for Jon Jansen / 1950s
Oak 21
Contour Chair by Bob Roukema for Jon Jansen / 1950s 22
Oak, Bent Plywood, Original Velour Upholstery
Linear Sideboard by Bob Roukema for Jon Jansen / 1950s
Mahogany, Glass, Anodised Aluminium 23
‘The Rocker’ by Ernest Race (UK) / 1948 24
Retailed through Jon Jansen
Steel, Hardwood, Upholstered with Designs of the Time Jargal YP 10046 Designer Fabric
BA3 Outdoor Dining Set by Ernest Race (UK) / 1948
Retailed through Jon Jansen
Cast Aluminium 25
Compact Sideboard (Attributed to Jon Jansen) / 1950s 26
Tawa
Mid Century Lip Chair (Attributed to Danske Mobler) / 1960s
Mahogany, Bent Plywood, Original Upholstery 27
Coffee Table by Imi Porsolt / 1950s 28
Provenance / Designed for Braham House – Seaview Road, Remuera. Since demolished
Afromosia, Rattan, Glass
Imi Porsolt Imric (Imi) Porsolt (1909–2005) was a gifted modernist architect whose Jewish heritage necessitated his emigration from Czechoslovakia to New Zealand in 1939. Porsolt was quick to engage in the contemporary art and architecture scenes in New Zealand. He had a huge influence on this country through his term teaching at the Auckland School of Architecture and longstanding role as art critic for the Auckland Star. Alongside his architectural endeavours, Porsolt also designed a small amount of furniture for himself and selected clients. His work was included in the 1952 Art and Design Exhibition at Western Springs alongside other exhibitors such as Michael Brett, John Crichton, Group Architects and Ernst Plischke. Today, Porsolt’s work is considered some of the best in New Zealand. His 1962 ‘Pollard House’ was ranked number 23 in ‘Top 50 Homes’, an article by Douglas Lloyd Jenkins and Bill McKay, published in the magazine Home and Entertaining. Pollard House is described as “one of the finest pole houses in the New Zealand bush, showing an appreciation of the new environment and an ability to use it in a sensitive way”.
Modular Sofa (1 of 3) by Imi Porsolt / 1950s
Provenance / Designed for Braham House – Seaview Road, Remuera. Since demolished
Afromosia, Rattan, Upholstered with Rhodes ‘Lunar’ Designer Fabric 29
Mosaic Tile Coffee Table by John Crichton / 1950s 30
Ceramic Tiles, Steel
John Crichton When it comes to rare and desirable New Zealand design, pieces from John Crichton (1917–1993) sit at the forefront. Not long after graduation from Birmingham College of Art, Crichton was enlisted as a photographer for WW2. There he chanced to find that his para-delivered film reels were each wrapped in an Architectural Review – sparking an ongoing passion for modern design. New Zealand benefitted from this fortunate event when Crichton chose to emigrate from Malaysia to New Zealand in 1949. With his qualifications and international exposure, Crichton was pivotal in the introduction of a new approach in interiors, now defined as Pan Pacific Modernism. Pan Pacific Modernism combined Japanese, American and Pacific influences in interior decoration, together with a modernist philosophy and its structured aesthetic. From his store on Kitchener Street in Auckland, Crichton introduced New Zealanders to some of the most inspired furniture and hand crafted objects available, redefining the modern interior.
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Side Table by John Crichton (Attributed) / 1950s 32
Steel, Plywood, Formica
Side Table by John Crichton (Attributed) / 1950s
Steel, Plywood, Formica 33
Turned, Sculpted Kauri Bowl by John Crichton / 1950s 34
Kauri
Turned Kauri Bowl by John Crichton / 1950s
Kauri 35
Table Lamp by John Crichton / 1950s 36
Timber, Original Rattan Shade
Executive Chairs by John Crichton / 1950s
Mahogany, Upholstered with Original Vinyl 37
Turned Plates by John Crichton / 1950s 38
Kauri
Floor Lamp by John Crichton / 1950s Steel, Ceramic Tiles, Original Cane Shade
Side Table by John Crichton / 1950s Aluminium, Brass, Laminate, Découpage 39
Mosaic Tile Bowls by John Crichton / 1950s
Ceramic Tiles, Anodised Aluminium 41
Armchairs by John Crichton / 1959 42
Provenance / Design for Reception Area at NZ Forest Products, 1959
Mahogany, Bent Plywood, Brass, Original Wool Upholstery
Occasional Chairs by John Crichton / 1950s
Steel, Bent Plywood, Upholstered with Katagami ‘Peppercorn’ Designer Fabric 43
Coffee Table by Tibor Donner / 1949 44
Provenance / Designed for Auckland City Council
Beech, Beech Bent Plywood
Tibor Donner Tibor Donner (1907–1993) is one of Auckland’s most influential Architects. His tenure as Chief Architect to the Auckland City Council from 1946–67 has left a legacy of inspired and outstanding modernist buildings across the city. Highlights include the Parnell Baths (1951) and City Council Administration Building (1954). Fleeing persecution in Romania, Donner emigrated to New Zealand in 1927. On arrival, he studied architecture at Auckland University College and was a prize winning student with great ambition. Donner’s work often incorporates ‘high modernism’ influences from North and South America, although the use of local materials gives his work a distinctly New Zealand flavour. Donner was not only a pioneering architect, he also was a gifted furniture designer. In 1949 the Mayor of Auckland, John Allum, asked Donner to remodel the council offices. In response, Donner produced some of the most sophisticated modernist furniture in New Zealand. Unfortunately, most examples were thrown away in the 1990s. This suite of pieces are the only surviving ones we are aware of.
Executive Chair by Tibor Donner / 1949
Provenance / Designed for Auckland City Council
Beech, Beech Bent Plywood, Upholstered with New Leather 45
Modular Side Tables by Tibor Donner (Attributed) / 1940s 46
Oak, Beech Bent Plywood, Formica
Armchairs by Tibor Donner / 1949
Provenance / Designed for Auckland City Council
Beech, Beech Bent Plywood, Upholstered with New Leather 47
Flower Bud Floor Lamp / 1960s Mahogany, 1950s George Nelson Style Lampshade 48
Organic Floor Lamp / 1960s Mahogany, 1950s George Nelson Style Lampshade
Mid Century Contour Chair / 1950s 50
Steel, Bent Plywood, Original BouclĂŠ Upholstery
‘Relaxation Armchair’ by Grant Featherston (Australia) / 1950s
Manufactured under licence by Cental Upholstery Co. Ltd, Auckland and retailed through Maple Furnishings Company
Oak, Upholstered with Ficus ‘Jade’ Designer Fabric 51
Contour R160 Armchair by Grant Featherston (Australia) / 1950s 52
Manufactured under licence by Cental Upholstery Co. Ltd, Auckland and retailed through Maple Furnishings Company
Oak, Bent Plywood, Existing Wool Upholstery
Contour ‘TV Chair’ by Grant Featherston (Australia) / 1950s
Manufactured under licence by Cental Upholstery Co. Ltd, Auckland and retailed through Maple Furnishings Company
Beech, Bent Plywood, Upholstered with Taylor ‘Oatmeal’ Designer Fabric 53
Eames Lounger and Ottoman by Whitmore’s Arti Domo (Under Licence) / 1971 54
Mahogany Bent Plywood, Original Leather Upholstery
Early Kitset Lounge Chair for Home Construction / 1950s
Pine, New Cotton Webbing 55
Aerial Photographs of Auckland City by Whites Aviation / 1972, 1978, 1984 56
Original Framed Photographs
Auckland Harbour Bridge by Whites Aviation / 1959 58
Hand Tinted Aerial Photograph, Original Oak Frame, Inscribed Brass Plaque
Of all the early New Zealand modern chairs, this rare design is one of the most revered and also mysterious. The chairs feature in a significant number of early architectural homes and leading design periodicals but the maker and designer has never clearly been identified. Despite this, they are clearly New Zealand made and have close ties to many of the leading architects of the late 1940s and 50s.
The chairs are commonly attributed to legendary modernist architect Ernst Plischke but are unlikely to be his work. They are showcased in a review of good furniture in the 1948 edition of NZ Design Review and appear on the same page as a Plischke designed cabinet but are unfortunately not attributed to a designer.
Important Early Architectural Chairs / 1948
Photographic Reference Material - Des Mullen (Brenner Associates) / Mullen House 1948 (New Zealand Yearbook of the Arts / No 4, 1948) - New Zealand Design Review / No 3, 1948 - Ernst Plischke / Henderson House, Otago 1950 (Long Live the Modern, Julia Gatley, 2008) - Michael Brett / Tanglewood House, Howick 1951 (Home & Building, Sept 1951) - Vlad Cacala / Blumenthal House, Auckland 1957
Pine, Jute Webbing, Upholstered with Divino ‘Lapis’ Designer Fabric 59
‘Osaka Expo Chair’ by Michael Payne / 1970 60
Mahogany Bent Plywood, Steel, Upholstered with New Leather
Sideboard by Backhouse / 1960s
Teak, Brass 61
Mid Century New Zealand Sideboard / 1950s 62
Oak, Glass, Steel
Mid Century ‘Cleopatra Chaise’ / 1950s
Mahogany, Upholstered with Izmir ‘Silhouette’ Designer Fabric 63
Magazine Rack by Garth Chester (Attributed) / 1950s 64
Oak Bent Plywood, Steel
‘Winter’s Salon Chair’ by Garth Chester / 1955
Provenance / Designed for Winter’s Beauty Salon, Auckland. Less than 20 were produced
Bent Plywood, Oak, Steel, Upholstered with Ultraleather 291-1334 Designer Fabric 65
Be a Healthy Kiwi / For Your Holidays, Travel by Train Framed Prints / 1950s 66
Issued by the Department of Health / NZ Railways
Original Screeprint, New Frame
Mid Century New Zealand Scissor Chairs / 1950s
Oak, Upholstered with V3136/29 Alberta ‘Petrol’ Designer Fabric 67
Wellington Aerial Photograph / 1960s 68
Original Photograph, New Frame
Armchair by Ernst Plischke for Zealandia Chair Co / 1948
Rimu, Upholstered with Meridian Bansia ‘Basalt’ Designer Fabric
Donated by Dan and Emma Eagle to Te Papa Tongarewa Museum in 2013 69
Mid Century Coffee Table (Attributed to Ernst Plischke) / 1950s
Mahogany 71
Backhouse Established in Wellington in 1948 by Joe Backhouse, the company produced furniture aimed at the top of the market. Joe Backhouse was a gifted furniture designer whose work was highly influenced by the contemporary Danish and European direction in modern design. Backhouse produced pieces to retail through high end department stores and furniture boutiques.
Edzer (Bob) Roukema (1920 –1964) Bob Roukema emigrated to New Zealand shortly after WW2. His European background led him to secure work with furniture retailer Jon Jansen, first as store manager then as the company’s designer. Roukema worked at Jon Jansen between 1951 and 1959. During this tenure, he produced designs which are now recognised among the most coveted from the mid century period.
Garnet (Garth) Chester (1916 –1968) One of New Zealand’s most important furniture designers, Garth Chester’s pioneering work with bent plywood led to the 1944 Curvesse chair, now considered one of New Zealand’s most significant and iconic designs. After a suspicious fire burnt down Chester’s workshop, he focused on producing equally innovative wrought iron furniture.
Whitmore’s Arti Domo Keith Whitmore was an influential exponent of modern design. His store, Whitmore’s Arti Domo, was located in Christchurch and was at the cutting edge of contemporary design. With strict import duties in place, Whitmore commissioned talented European immigrants to create in-house designs and secured licences to produce iconic international pieces here in New Zealand.
Michael Payne Whanganui architect Michael Payne’s foray into furniture design led to the creation of one of this country’s most notable and celebrated chairs. Payne was offered the chance to design the New Zealand Pavilion in the 1970 Osaka Expo. What resulted was a dynamic and engaging space, ‘The Geyser Room’, fully furnished with chairs designed by Payne and topped off with its own artificial geyser. Ernst Plischke (1903–1992) In his home country of Austria, Plischke was a leading advocate of the modernist “Neues Bauen” (New Construction) movement before fleeing to New Zealand in 1939 as a refugee from Nazism. Plischke was not only a talented architect but also an accomplished writer and furniture designer. His legacy includes some of this country’s most inspired architectural works during the 1940s and ‘50s.
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