Rediscovering a master

Schulim Krimper’s handcrafted legacy takes centre stage

The exquisite furniture of Schulim Krimper is finally receiving the public recognition it deserves, with an exhibition at Bayside City Council.

Schulim Krimper, 1968. Photo: National Portrait Gallery of Australia/Estate of Mark Strizic
Schulim Krimper, 1968. Photo: National Portrait Gallery of Australia/Estate of Mark Strizic

After decades in private collections, the exquisite furniture of Schulim Krimper is finally receiving the public recognition it deserves.

The Bayside Gallery’s exhibition, Schulim Krimper: mid-century artist and master craftsman, brings together more than forty pieces from this influential émigré furniture maker, many displayed publicly for the first time.

Curator Kirsty Grant explained the significance of this long-overdue showcase, saying, “there was a recognition that it is a long time since a significant collection of Krimper’s work has been brought together for public display.” The timing couldn’t be more apt, given the “strong interest that exists in all aspects of mid-century Australian design,” she noted.

Born in Sereth (now part of Romania), Krimper’s journey to becoming a cornerstone of Australian design began with traditional European training. His apprenticeship with a local cabinet-maker, where he worked mostly by hand, provided the foundation for his exceptional craftsmanship. His travels through Vienna and Prague before settling in Berlin in the early 1920s exposed him to diverse furniture traditions and contemporary design developments.

“This experience gave Krimper a broad knowledge of furniture, from regional and historical traditions through to contemporary developments in design,” Grant observed. “I think this provided him with a very solid grounding from which he was able to develop his own signature style.”

Schulim Krimper, The Lina Bryans writing table 1955, Black Bean (Castanospermum australe), glass, 74.9 x 190.5 x 80.0 cm. National Gallery of Victoria, Melbourne. Purchased, 1973. Photo: Courtesy of the artist’s estate. Christian Markel/NGV

What distinguished Krimper from his contemporaries like Grant Featherston and Fred Lowen was his commitment to handcrafted excellence over mass production.

“Rather than mass-producing his furniture, he produced handcrafted one-off pieces in a modern style,” Grant explained, positioning him uniquely within Australia’s mid-century design landscape as “a very important figure in the line of skilled furniture-makers who work in this way.”

Krimper’s signature aesthetic, while difficult to define precisely, embodied a distinctive balance.

“There is a simplicity in much of his best work that is balanced with a deep love of timber and a focus on highlighting its beauty,” Grant reflected. This philosophy resulted in pieces that were both modernist in conception and deeply respectful of traditional craftsmanship values.

Schulim Krimper, Screen (detail) c. 1961, Teak (Tectona grandis), brass, 260.7 x 239.3 x 13.2 cm. National Gallery of Victoria, Melbourne. Gift of Judy Arndt and Shirley Klebaner in memory of Ralph and Erna Winton, 2008. Photo: Courtesy of the artist’s estate. Christian Markel/NGV

The exhibition’s personal dimension adds particular poignancy to the display.

“Most of the items on display have come from private collections and have never before been displayed in public,” Grant revealed. “In many instances, I have borrowed these items from the children or grandchildren of the people who commissioned them from Krimper during the 1940s, 50s or 60s.”

These pieces carry more than aesthetic value – they hold family histories.

“These pieces of furniture are used every day and treasured,” Grant said, expressing gratitude to lenders “who have agreed to be without them for the duration of the exhibition.” The exhibition labels include provenance information where possible, connecting visitors to the personal stories behind each piece.

For Grant, the exhibition serves dual purposes.

For those familiar with Krimper’s work, it will “expand their understanding of the range and diversity of his practice and renew their appreciation of his skill.”

For newcomers attracted by the growing interest in mid-twentieth century design, she hopes the exhibition will “excite them to learn more about Krimper and the other émigré furniture makers who contributed so much to mid-century design in Australia.”

The Bayside Gallery setting provides perfect context, given the area’s “particularly important history in terms of mid-century architecture,” making this exhibition both a celebration of craftsmanship and a recognition of the émigré artists who helped shape Australia’s design identity.

Krimper: mid-century artist and master craftsman is on display at Bayside Gallery from July 5 to August 24. For  more information, visit bayside.vic.gov.au/krimper

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