- 129
Jeroen Verhoeven
Estimate
150,000 - 250,000 USD
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Description
- Jeroen Verhoeven
- "Lectori Salutem"
- with metal label signed Jeroen Verhoeven and printed DEMAKERSVAN/Jeroen Verhoeven/Lectori Salutem Desk/No. 03 of 20
- polished stainless steel
number 3 from an edition of 20
Literature
Jessica Watts and Louis Shadwick, eds., Jeroen Verhoeven, Lectori Salutem, London, 2013 (for illustrations and a discussion of the design process and execution of the model)
Condition
Overall in very good condition. The surfaces with a few very light surface scratches and light surface soiling consistent with gentle use. A stunning, deeply sculptural and poetic work that is masterfully executed and conveys an intimate narrative. The complex construction and asymmetry impart the desk with an incredible dynamism and visual presence when viewed firsthand.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Why did you choose polished stainless steel for this project?
Stainless steel was the perfect material; there is a contrast between its apparent inflexibility as a raw material and the fluid shapes of Lectori Salutem. Shaping metal into such fluid forms is not easy given its natural state. The questioning that arises as part of the initial process, our dialogue as to how to proceed, using this material meant that this was something we could show the viewer, they can see our story in the work.
What role does the material play in the overall narrative of the object?
It is almost like freezing a moment where everything was perfect and polished. For me it symbolises a moment in life where the perfect balance between myself, Joep and Judith existed.
How did you decide on this title and what kind of ideas or connections do you hope it sparks in viewers?
The title is a nod to the writers desks designed by Francois Linke. We wanted to reference and respect traditional craftsmanship but using new, 21st Century tools. We hope that viewers see it as a continuation of a historical legacy, albeit updated with our ideas and technology.
Your brother, Joep, and long-time colleague, Judith de Graauw, are clearly represented in this design through their physical likeness. Where do you see yourself in this piece?
Judith was our love, mine for ten years, ours for three; both she and Joep shaped me into who I am now. They are two people I always tried to bring together, and having the two most important people in my life next to me was key. Where I see myself in the work is as the third leg of the desk, trying to keep the balance between the three of us.
Many collectors are familiar with your Cinderella Table, which has certain similarities to Lectori Salutem– both reinvent classic forms, combine function with whimsy, and tell a story through materials and process. How is the narrative of Lectori Salutem different?
With Lectori Salutem the narrative is less academic and more personal. The Cinderella Table was for me a beginning, but I’ve always felt that the desk was something that gave meaning and context to both pieces. The Cinderella Table was a piece that showcased 21st Century craftsmanship; whilst this is present in Lectori Salutem, it is also imbued with aspects of my life.
Stainless steel was the perfect material; there is a contrast between its apparent inflexibility as a raw material and the fluid shapes of Lectori Salutem. Shaping metal into such fluid forms is not easy given its natural state. The questioning that arises as part of the initial process, our dialogue as to how to proceed, using this material meant that this was something we could show the viewer, they can see our story in the work.
What role does the material play in the overall narrative of the object?
It is almost like freezing a moment where everything was perfect and polished. For me it symbolises a moment in life where the perfect balance between myself, Joep and Judith existed.
How did you decide on this title and what kind of ideas or connections do you hope it sparks in viewers?
The title is a nod to the writers desks designed by Francois Linke. We wanted to reference and respect traditional craftsmanship but using new, 21st Century tools. We hope that viewers see it as a continuation of a historical legacy, albeit updated with our ideas and technology.
Your brother, Joep, and long-time colleague, Judith de Graauw, are clearly represented in this design through their physical likeness. Where do you see yourself in this piece?
Judith was our love, mine for ten years, ours for three; both she and Joep shaped me into who I am now. They are two people I always tried to bring together, and having the two most important people in my life next to me was key. Where I see myself in the work is as the third leg of the desk, trying to keep the balance between the three of us.
Many collectors are familiar with your Cinderella Table, which has certain similarities to Lectori Salutem– both reinvent classic forms, combine function with whimsy, and tell a story through materials and process. How is the narrative of Lectori Salutem different?
With Lectori Salutem the narrative is less academic and more personal. The Cinderella Table was for me a beginning, but I’ve always felt that the desk was something that gave meaning and context to both pieces. The Cinderella Table was a piece that showcased 21st Century craftsmanship; whilst this is present in Lectori Salutem, it is also imbued with aspects of my life.