EYSSELINCK, GASTON: ARCHITEKT EN MEUBELDESIGNER (1907-1953). Gent: Stad Gent-Museum voor Sierkunst, 1978.

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R. Vandewege [introduction]

R. Vandewege [introduction]: GASTON EYSSELINCK: ARCHITEKT EN MEUBELDESIGNER (1907-1953). Gent: Stad Gent-Museum voor Sierkunst, 1978. First edition [numbered 944 of 1,000 copies]. Text in Dutch. Square quarto. Thick French folded photo illustrated wrappers. 72 pp. 76 black and white illustrations. Interior unmarked and very clean. Out-of-print. A fine copy. Rare.

10 x 9.75 rare softcover book with 72 pages and 76 b/w illustrations [floor plans printed in black over a cream background]. Published in conjunction with an exhibition of the same name: Stad Gent-Museum voor Sierkunst, Gent [June 24-Oct 1, 1978]. Gaston Eysselinck (1907-1953) is a central figure in Belgian architecture, known for his International Style houses, his Post Office building in Ostend (1945-1952) and for his 1930s tubular steel furniture. His archives are housed at Design Museum Gent.

An exceptional reference volume devoted to a lesser-known figure from the heroic age of the modern movement.

Inleiding by R. Vandewege
Woordvooraf by Albert Bontridder
Gaston Eysselinck: Voornaamste Biografische Gegevens
Gaston Eysselinck: En de Wording van Zijn Uitdaging, een Interpretatie by Herve Demeyer
Gaston Eysselinck: Situering van Eysselinck en het Ontstaansproces van Zijn Woning by Marc Dubois
Keuze uit bibliografie in verband met Eysselincks architektuur en meubels

The invention of tubular-steel furniture -- uniquely suited to the modern interior and to modern methods of mass production -- was a revolution that set off a tremendous burst of creativity in the world of design. That energy is still felt today.

Gaston Eysselinck's tubular steel furniture designs strongly echo the work of contemporaries Marcel Breuer, Gerrit Rietveld, Eileen Gray, Pierre Chareau, Josef Hoffmann, Mart Stam, Ludwig Mies van der Rohe, and other designers who twisted metal to suit their own vision of the future.

Eysselinck's architecture followed the functional tents of the International Style, with a healthy dose of De Stijl — producing buildings reminiscent of early work by J. J. P. Oud, Walter Gropius, Le Corbusier and other fathers of the modern movement.