J O S E P H B E U Y S D O N A L D J U D D L I A M G I L L I C K S O L L E W I T T G E R H A R D M E R Z RACHEL WHITEREAD

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1 J O S E P H B E U Y S D O N A L D J U D D L I A M G I L L I C K S O L L E W I T T G E R H A R D M E R Z RACHEL WHITEREAD

2 SCHELLMANN FURNITURE

3 ARTISTS FURNITURE

4 JOSEPH BEUYS In 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.

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

7 JOSEPH BEUYS

TABLE II TÊTE 1953 54 PEARWOOD AND EBONY.

8 TABLE II TÊTE PEARWOOD AND EBONY. 55 X 92 X 65 CM LIMITED TO AN EDITION OF 15

9 JOSEPH BEUYS

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

11 JOSEPH BEUYS

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

13 JOSEPH BEUYS

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

15 JOSEPH BEUYS

16 LIAM GILLICK The work of Liam Gillick (living and working in London and New York) 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 paintings, 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.

18 MULTIPLIED DISCUSSION STRUCTURE 2007 POWDER-COATED ALUMINUM 41 X 61 X 245 CM THREE COLOR VARIATIONS LIMITED TO AN EDITION OF 100

19 LIAM GILLICK

20 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

21 LIAM GILLICK

22 DONALD JUDD 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.

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

25 DONALD JUDD

26 BOOKSHELF 1984 PAINTED ALUMINUM. 100 X 50 X 100 CM

27 DONALD JUDD

28 DESK AND TWO CHAIRS 1992 PLYWOOD. DESK 76 X 84 X 122 CM, CHAIR 76 X 38 X 38 CM

29 DONALD JUDD

30 SOL LEWITT Sol LeWitt (American, ) is regarded as a founder of both Minimal and Conceptual art. His interest was focused on basic geometrical forms and structures 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 system 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 sculptural 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.

31 SOL LEWITT

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.

33 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 painting, 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

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

35 GERHARD MERZ

36 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

37 GERHARD MERZ

38 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 memories 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.

40 POLY SHELF 2009 POLYURETANE, WITH TWO-WAY METAL HANGING BRACKETS. 15 X 66 X 23 CM LIMITED TO AN EDITION OF 300.

41 RACHEL WHITEREAD

42 LAMP 2009 BRONZE, PORCELAIN, BULB X 8.5 CM Ø LIMITED TO AN EDITION OF 60.

43 RACHEL WHITEREAD

44 Published at the occasion of Qubique Furniture Design tradeshow Berlin Tempelhof Airport October 26 29, 2011

45 SCHELLMANN FURNITURE AINMILLERSTRASSE MÜNCHEN TEL FAX

46 SCHELLMANN FURNITURE

SOL LEWITT. a d a m. e: 24 CORK STREET LONDON W1S 3NJ t:

SOL LEWITT. a d a m. e: 24 CORK STREET LONDON W1S 3NJ t: SOL LEWITT a d a m g a l l e r y SOL LEWITT 24 CORK STREET LONDON W1S 3NJ t: 0207 439 6633 13 JOHN STREET BATH BA1 2JL t: 01225 480406 e: info@adamgallery.com www.adamgallery.com Adam Gallery is pleased