Ulf Beckman, Jonas Bohlin, exh. cat., Stockholm, 1993, p.7
Charlotte and Peter Fiell, eds, scandinavian design, Cologne, 2002, pp. 136-137
Bengt Nyström, ed., Svenska Möbler: Under Femhundra År, Stockholm, 2008, p. 318

Overall very good condition. Minor oxidation to the steel elements, inherent in the design. The concrete is porous and has naturally rough edges, and this is also inherent in the design of the chair.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Jonas Bohlin began his career as an industrial engineer, working on bridge building production, likely one of the inspirations for his ‘Concrete’ chair. Produced the same year as the first Memphis group collection, the ‘Concrete’ chair, like Memphis, challenged the traditional and societal norms of design and establishing a critical contribution to Swedish Post-Modern design.  Concrete and steel placed at sharp, rectilinear angles give the chair a resolutely sculptural feel, where the comfort of the sitter becomes almost secondary to the form itself. This is an early example of the crossover between art and design, blurring the lines between the two.