Karel Maes is one of the few Belgian expressive artists at the beginning of the 1920’s who found a connection with the Netherlandish movement De Stijl. However less prominent than his colleagues Georges Vantongerloo and Huib Hoste, Maes gains recognition from the great frontman Theo Van Doesburg (1883 – 1931). For a while, Maes is even the Belgian ‘representative’ of Van Doesburg’s international movement. The highpoint is in 1922 with the signing of the manifesto of the Konstruktivistische Internationale Beeldende Arbeidsgemeenschap in Weimar. He does this in the presence of Van Doesburg, El Lissitzky (1890 – 1941), Max Burchartz (1887 – 1961) and Hans Richter (1888 – 1976). The artist is present at nearly all major avant-garde exhibitions where the Pure Plasticism is active (Antwerp, Bruges, Geneva, Brussels, Monza, etc.). (text fragment Sergio Servellón Felixart Museum)
These chairs were designed and handmade by Karel Maes in his Brussels atelier beginning 1930s. At this atelier the most luxurious materials were used to execute the most exclusive designs. These models for example are made out of Loupe Maïdou and Lusumba. At that time he has gained succes and has a high profile bourgeois clientele. His designs 10 years earlier where simple and much more poor of material use Literally every angle of this piece has been treated with the most of attention and care.