A pair of vintage natural cane, Wicker and chrome MR20 Ludwig Mies van der Rohe MR20 armchairs for Thonet.

The MR20 (the armchair version of the MR10) is a hallmark of Bauhaus and Modernist design which blends industrial steel with the organic warmth of natural materials. The wicker version of the MR20 was the original version of the design and was introduced in 1927 at the Die Wohnung (The Dwelling) exhibition at the Weissenhof Estate in Stuttgart.  

While Mies van der Rohe is credited with the structural design, it is widely accepted that his partner, Lilly Reich, was responsible for the use of cane. She sought to soften the 'cold' aesthetic of the tubular steel, making the chair more palatable for domestic use. Leather versions of the chair were introduced from around 1931 onwards. 

Incidentally, the material is often referred to as 'wicker' or 'rattan', but it's technically 'natural cane'. Whilst the source is rattan, a species of climbing palm found in tropical regions, for the MR20 manufacturers use the outer skin of the rattan stalk which is stripped into thin, flexible ribbons. This specific part of the plant is called cane - 'wicker' is therefore not the material but instead refers to the box weave pattern.
 
Official manufacturers
Because the patent for the cantilever design expired long ago, many companies such as Alivar, Gavina, Stendig and Tecta have produced versions of the chair but these chairs were not produced under license and often lack the quality associated with the main manufacturers. These are as follows:

1927–1932 Josef Müller 
1932 - 1990s Thonet 
1960s onwards Knoll International, and later from 1996 to the present day, Knoll Studio

Thonet production is usually identified by a label stuck to one of the cross stretchers under the seat, but where this is missing the chair can be identified by the collar that joins the leg to the arm rest. In the Thonet version this is a welded bracket with a single Allen key bolt screwed into the base of the arm rest tube.

Likewise with Knoll, usually a Knoll International label from 1960's -1996 and thereafter a Knoll Studio and Mies van der Rohe signature engraved imprint in the base with additional production labels. Where the earlier Knoll International label is missing the chair can be identified by the collar that joins the leg to the arm rest. This is slightly different to the Thonet welded bracket version where the retaining bracket has screws that secures it to the frame and the base of the arm rest tube.  

Unfortunately there are many copies in the market which were predominantly Taiwanese exports (1970s–90s) and these days either contemporary Italian or Chinese reproductions. Many of these pieces were sold through department stores, rebadged by importers or falsely attributed later (and still to this day) by dealers. 
 
Therefore, In the world of high end design Thonet pieces are the most sought after as their pedigree goes right back to 1932 and they had a more limited production period, plus they benefit from two cross stretchers under the seat to better stabalise the frame - and thereafter Knoll, with only these two companies considered to be the 'licensed' or 'official' manufacturers. The early Josef Müller versions are very rare chairs indeed; these were unmarked so if you ever see one for sale you would need to check the provenance very carefully.    . 

Born in the medieval city of Aachen, Germany Ludwig Mies van der Rohe was a pivotal figure in the Modernist design and architectural movement throughout the 1920’s and 30’s and went on to direct the Bauhaus from 1930-33. He was hugely influential and along with his contemporaries Frank Lloyd Wright and Le Corbusier, shaped the course of 20th-century architecture and design. Along with the MR series of chairs he also designed the iconic Barcelona chair and the range of cantilevered Brno chairs (an example of which is also for sale on this website HERE).

These particular armchairs date from the 1980s and are in very good vintage condition with light signs of wear to the cane and chrome as you would expect given their age - these are highlighted in the photos. Both chairs also benefit from having the original Thonet production labels adhered to the rear seat cross stretcher as shown in the photos.   

To the collector van der Rohe’s designs epitomises the highest aspirations of modernism being practical, functional and comfortable; and it is a testament to his enduring ideals that many of his designs are still in production today over 70 years after they were first conceived.  
 
 
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