Posts tagged Mid-Century Modern Furniture Chicago
MID-CENTURY MASTERS: PAUL MCCOBB

Paul McCobb (June 5, 1917 - March 10, 1969) is one of the most important and well known mid-century furniture designers. Born in Medford, Massachusetts, he studied drawing and painting at the Vesper George School of Art in Boston. Before finishing, he joined the army. He returned and began his career as a self taught designer, in 1948 joining Martin Feinman’s Modernage Furniture in New York City as a designer and decorating consultant. This is where he would meet B. G. Mesber who he would collaborate with for his Planner and Directional lines. While he is known for his furniture, he also designed radios, tv’s, hi-fi consoles, and household items. He went on to design lines of furniture for many companies, including Planner for Winchendon Furniture Company, Predictor for O’Hearn Furniture, multiple lines for Calvin Furniture, and Connoisseur Collection by H. Sacks and Sons. His Planner line was one of the best selling furniture lines of the 1950’s. In 1952, he designed the set for the originalToday show, one of the first major introductions of modern design to the broader America.

What is striking about McCobb’s work is its simplicity. While this style is so regularly seen today, it was inventive and new for the time he worked. Every furniture piece is boiled down to its necessary parts— legs, seats, shelves, drawers— with no ornamentation. This paired back design requires each element to be carefully considered to achieve elegance rather than boring simplicity, a feat McCobb achieved with beautiful materials, thin and tapering forms, and thoughtful geometry. In his dining chairs seen above, for all intents and purposes they are very simple, straightforward chairs. McCobb’s touch is seen in the careful angle of the back, the tapering of the legs at the base, and the selection of rich wood. Looking at his pieces more than half a century later, they are truly timeless. His modernist vision was done so correctly that his work stands the test of time.

OUR YEAR IN REVIEW
EERO SAARINEN WOMB CHAIR
$0.00

Womb chair

designed by Eero Saarinen for Knoll

USA, d 1948 / c 1960s

reupholstered in wool shearling + black steel frame

35 ½" h x 40" w x 34" d x seat 16" h

fabric sample available upon request

"SOFTENED SUNSET BLEEDS GREEN"
$3,500.00

by Jean Alexander Frater

2019

acrylic on canvas

36" h x 36”  w x 7" d

MILO BAUGHMAN TUFTED CANTILEVER SOFA
$0.00

tufted cantilever sofa

designed by Milo Baughman

USA, c 1960s

velvet + chrome

27 ¾” h x 88” w x 33” d x seat 17” h

PAUL MCCOBB FOR DIRECTIONAL SECTIONAL SOFA
$8,000.00

sectional sofa

designed by Paul McCobb for Directional

USA, c 1950s

mohair + brass

33” h x 166” w x 49” d x seat 33” d

sofa is 28” h without back cushions

fabric sample available upon request

not all furniture is on display at the gallery, please contact us to schedule a viewing

GEORGE NELSON FOR HERMAN MILLER FIRST EDITION COCONUT CHAIR
$8,500.00

Coconut chair

designed by George Nelson for Herman Miller

USA, c 1950s

1950's Alexander Girard “Minicheck” fabric, fiberglass, + aluminum

33” h x 41 ½ w x 34” d x seat 13 ¾” h

this first edition chair has been reupholstered using new old stock 1950's Girard “Minicheck” fabric

not all furniture is on display at the gallery, please contact us to schedule a viewing

"FRACTIOUS"
$10,000.00

by Ted Stanuga

2019

oil on canvas

54 ½" h x 47 ½" w x 1 ¾" d

ISAMU NOGUCHI IN-50 TABLE
$0.00

coffee table

designed by Isamu Noguchi for Herman Miller

USA, c 1990s

wood + glass

15 ¾” h x 40 ¾” w x 50 ⅛” d

this authentic table has Noguchi’s signature etched into the side of the glass with the manufacturer’s medallion present on the underside of the base.

PAUL MCCOBB FOR CALVIN CREDENZA
$0.00

credenza with shelving unit

designed by Paul McCobb for Calvin

USA, c 1950s

mahogany, leather + brass

base credenza: 34” h x 66” w x 19 ¼” d

top shelving unit: 48” h x 60” w x 14” d

manufacturer’s label located inside left drawer

"MIGRANTS 48"
$1,500.00

by Krista Svalbonas

2016

pigment print + collage on board, framed

14” w x 14” d

EAMES COMPACT SOFA FOR HERMAN MILLER
$0.00

Eames compact sofa

designed by Charles and Ray Eames for Herman Miller

USA, c 1950s

metal + upholstered in Arabesque fabric by Alexander Girard

36” h x 71 ½” w x 29” d x seat 16 ¼” h

"PEDESTRIAN"
$10,200.00

by Amanda Gentry

2018

terracotta with rainbow beach aggregate and mason stained earthenware slip

16 ¼" h x 24" w x 24" d

"BLUE SOFTENED SHAPES"
$3,500.00

by Jean Alexander Frater

2019

acrylic on canvas

36" h x 36”  w x 7" d

Happy New Year from Matthew Rachman Gallery!

This year we continued to bring in newly restored modern furniture and breathtaking works by our artists. Although we were unable to present any curated shows, we are grateful to continue to bring forward new and exciting work. In the early few months of the year, we featured work that had not been seen before, such as Ted Stanuga’s “Humbold” which drew sidewalk onlookers with its grand scale, or a triptych of Slater Sousley’s quietly vibrating plein air paintings.

This year we have also begun creating our own bespoke furniture. Our first piece is the MR Sofa, featuring bold, curving lines and beautiful blue mohair.

MR SOFA
$14,000.00

MR sofa

bespoke design by Matthew Rachman Gallery

USA, 2020

mohair + mahogany

34 ½”  h x 102 ½” w x 52” d x seat 17” h

fabric sample available upon request

not all furniture is on display at the gallery, please contact us to schedule a viewing

We continue to be available via appointment to anyone interested in seeing work in person and look forward to all the great work that will come in 2021. Thank you to all for your continued to support.

MILO BAUGHMAN

Milo Baughman was an American modern furniture designer. His career began during his service in World War II, designing officer’s clubs. After returning from war, he went on to study at the Art Center School of Los Angeles and Chouinard Art Institute. He then established his own design practice while also designing for other manufacturers, such as Glenn of California, Pacific Iron, Drexel, and most notably with Thayer Coggin. This collaboration lasted for 50 years and include some of Baughman’s most well known designs.

MILO BAUGHMAN CHILD'S SIZE SWIVEL CHAIRS
$7,500.00

pair of tilted swivel chairs

designed by Milo Baughman for Thayer Coggin

USA, c 1970s

mohair + walnut

 28 ¾” h x 22” w x 24 ¼” d x seat 18 ¾” h

not all furniture is on display at the gallery, please contact us to schedule a viewing

MILO BAUGHMAN CAMPAIGN DESK
$0.00

campaign desk

designed by Milo Baughman

USA, c 1970s

rosewood + chrome

29 ¾” h x 60” w x 35 ¾” d

MILO BAUGHMAN T-BACK CUBE CHAIRS
$0.00

pair of T-Back Cube lounge chairs

designed by Milo Baughman for Thayer Coggin

USA, c 1970s

walnut, shearling + chrome

31” h x 30” w x 34” d x seat 19 ¼” h

manufacturer’s label located on the underside of the seat

Baughman’s designs are without frills: the interest and excitement is baked into the forms and materials he employs. Using rich wood, upholstery, lucite, and chrome, his pieces are practical enough to fit into any home but almost sculptural enough to be works of art. The lines are intentional and bold with sleek curves or perfect right angles. In avoiding extra details, every element of his designs are carefully chosen and elegantly considered. Even his most adventurous pieces are appropriate in scale and usability. For example, the rosewood coffee table top appears to hover with its lucite legs, or the rosewood credenza looks as if three wooden cubes are suspended in air with the chrome body. Baughman’s furniture pieces have remained timeless due to the use of classic materials and simple design.

MILO BAUGHMAN ROSEWOOD BENCH
$3,600.00

bench

designed by Milo Baughman for Thayer Coggin

USA, c 1970s

rosewood + chromed steel base

20" h x 75 ½" w x 22" d x seat 20" h

bench also serves as a console table

Not all furniture is on display at the gallery. Please contact us to schedule a viewing. 

MILO BAUGHMAN COFFEE TABLE
$0.00

coffee table

designed by Milo Baughman for Thayer Coggin

USA, c 1960s

rosewood + lucite

13.5” h x 32” w x 54” d

MILO BAUGHMAN ROSEWOOD + CHROME CREDENZA
$0.00

credenza

designed by Milo Baughman for Thayer Coggin

USA, c 1970s

rosewood + chrome

28” h x 63” w x 18” d

manufacturer’s label on right side of top drawer

FEATURED IN MAY

ISAMU NOGUCHI IN-50 COFFEE TABLE

"In art, one does not aim for simplicity. One achieves it unintentionally as one gets closer to the real meaning of things." -Constantin Brancusi

Isamu Noguchi’s iconic coffee table is comprised of two pieces of solid wood, interlocking into each other to form a tripod base for the glass above. Constantin Brancusi’s influence is apparent in this work, through Noguchi’s time as Brancusi’s apprentice, with the use of organic shapes and assemblage. This sculptural design has proven the test of time through its unity of harmony, balance, and durability.

ISAMU NOGUCHI IN-50 TABLE
$0.00

coffee table

designed by Isamu Noguchi for Herman Miller

USA, c 1990s

wood + glass

15 ¾” h x 40 ¾” w x 50 ⅛” d

This authentic table has Noguchi’s signature etched into the side of the glass with the manufacturer’s medallion present on the underside of the base.

Not all furniture is on display at the gallery. Please contact us to schedule a viewing. 

EDWARD WORMLEY PYRAMID FLOATING BOOKCASE
$0.00

bookcase

designed by Edward Wormley for Drexel

USA, c 1950s

walnut

41 ⅞” h x 54 ⅜” w x 18 ¾” d

shelf depth: top: 8 ¼”, middle: 11 ⅜”, bottom: 14 ⅞”

A versatile floating piece ideal as a bookshelf or room divider.

EDWARD WORMLEY PYRAMID FLOATING BOOKCASE

Edward Wormley was a longtime director of the Dunbar furniture company, and brought modern design into midcentury residential homes. He had a deep appreciation for traditional design and impeccable craftsmanship. The Pyramid Floating Bookcase can be utilized against a wall or floating in a room to add more dimensionality to put your collection of books and objects on display.

UNTITLED BY SHINNOSUKE MIYAKE

Untitled beautifully captures an instantaneous moment and invites the viewer to be immersed in Miyake’s brushstrokes. The artist’s trust in his impulsive decisions is definite, bringing concrete yet fluid motions to the surface. Read Japanese artist Shinnosuke Miyake’s bio and view his other works here.

"UNTITLED"
$0.00

by Shinnosuke Miyake

2017

acrylic on canvas

60” h x 48” w x 1 ½” d

How Chicago, Mies van der Rohe’s Adopted Home, Remembers the Architect

The Windy City's Matthew Rachman Gallery takes a deep dive into the designer's practice.

by Thomas Connors | April 28, 2019

1stdibs: Introspective Magazine

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Less is more,” that inescapable quote attributed to Mies van der Rohe, has long been modernism’s tagline. But when it comes to this year’s observances of the 100th anniversary of the Bauhaus, where Mies was the final director, more is more. Two new museums are opening in Germany dedicated to the history and legacy of the forward-looking art and design institution. And special exhibitions are popping up from São Paolo to Tel Aviv that shine a spotlight on its faculty and students, who broke the barriers between artist and artisan, articulated a new partnership of form and function and reshaped the built environment. Of particular note is “Mies van der Rohe: Chicago Blues and Beyond,” running through July 21 at the Matthew Rachman Gallery in Chicago, where the designer settled after leaving Germany.

The Nazis closed the Bauhaus in 1933, but Mies soldiered on in Berlin for another five years before emigrating to the U.S., where, in 1938, he became director of the school of architecture at Chicago’s Armour Institute, now the Illinois Institute of Technology, or IIT. From this academic perch, he profoundly influenced the course of architectural practice internationally. And from his own drafting table, he changed the look of his adopted city, completing such now-iconic projects as the 860-880 Lake Shore Drive apartment towers, the Chicago Federal Center and One IBM Plaza, as well as the IIT campus.

The show includes a Barcelona chair with a prototype cushion that Mies designed for his towers at 860–880 Lake Shore Drive. The chair, as well as never-before-seen ephemera, is on loan from T. Paul Young, an architect who worked in Mies’s studio.

The show includes a Barcelona chair with a prototype cushion that Mies designed for his towers at 860–880 Lake Shore Drive. The chair, as well as never-before-seen ephemera, is on loan from T. Paul Young, an architect who worked in Mies’s studio.

Rachman — who last year mounted a show of works by Charlotte Perriand focused on Les Arcs, the ski resort she designed in the French Alps — has previously hosted two benefits in support of Mies’s Farnsworth House. (The “Chicago Blues and Beyond” opening, with architect Dirk Lohan, Mies’s grandson, on hand, was also a fundraiser for the Farnsworth House, which has been a house museum owned and operated by the National Trust for Historic Preservation since 2003.) With the Bauhaus anniversary approaching, he decided to build an exhibition around a cache of the designer’s blueprints he acquired several years ago. Now for sale, the blueprints are actual working documents used by junior and senior architects in Mies’s office. Some have never before been seen publicly.

A dozen clipboards hold working documents and correspondence related to the studio’s projects.

A dozen clipboards hold working documents and correspondence related to the studio’s projects.

Among the plans, examples of which measure as large as 48 by 32 inches, is one for the Barcelona chair, done for the Wells Furniture Company, which manufactured the piece in the 1930s before Knoll began production. There are also drawings for architectural projects, including One Charles Center and the Highfield House condominium, both in Baltimore; 111 E. Wacker Drive, in Chicago, now home to the Chicago Architecture Center; and IIT’s Crown Hall, whose massive, column-free span epitomizes Mies’s embrace of utterly adaptable, universal space. It was built to house the Department of Architecture and Institute of Design.

These projects represented a leap forward in the architect’s career, an opportunity to build at a scale he had only imagined before the war. Advances in technology, access to materials and the willingness of American developers and corporations to get on board with modern design propelled him to a period of great creativity and success.

Rachman has taken a contextual approach to his installation of the blueprints on offer, interspersing the display with furniture and ephemera, much of it on loan from architect T. Paul Young, who at 17 became an office boy in Mies’s firm. “I’d pick up his cigars at Dunhill, organize files, things like that,” recalls Young, who advanced through the ranks to work on structures like the unrealized Mansion House Square, in London (his last project at the firm). “The office had a studio atmosphere, and there were long racks of blueprints of all of Mies’s projects. All the architects in the office would use those as reference. If they were designing louvers or a curtain-wall detail, they would be able to look at other buildings to see what was done and make it even better.”

Mies used these textile samples when designing the interiors of the Arts Club of Chicago in the early 1950s.

Mies used these textile samples when designing the interiors of the Arts Club of Chicago in the early 1950s.

Among the materials from Young’s archive in the show are fabric swatches from the Farnsworth House and Mies’s sole interior-only project, the Arts Club of Chicago (razed in 1995); a rare bronze-frame version of the Brno chair manufactured by Brueton; a sales brochure for the 860-880 residences (“Mutual Ownership Offering Stability at the Lowest Possible Cost”); construction documents; and images produced by Hedrich-Blessing Photographers, the renowned architectural photography firm founded in Chicago in 1929. In addition, Rachman has on display and for sale two key pieces of furniture: an MR chaise longue, circa 1970, reupholstered in Brazilian cowhide but retaining the original strapping; and a Barcelona couch.  “We want people to see the different materials Mies used and to better understand these pieces — which they have seen many times in various settings — within the bigger picture of Mies’s work,” says Rachman.

Although later, less artful interpretations of the architect’s aesthetic contributed to the perception of modernism as manipulative and soulless (a critique initially applied to the master’s own work), he remains a giant in the history of the built environment, a man whose philosophy is, perhaps, as significant as the structures he designed. “In 1939, Mies gave a lecture to students in which he discussed designing a house,” notes Young, who serves as executive director of the Bauhaus Chicago Foundation. “He said that coming to the house, the front door, was the most important thing to consider. And as he concluded, he said, ‘The house is really the shell, and the life lived therein, is the bloom.’ And that was true whether he was designing a home or an office building or Crown Hall. He was setting a stage for living.”

Read the full article here.

Connors, Thomas. “How Chicago, Mies Van Der Rohe's Adopted Home, Remembers the Architect.” 1stdibs Introspective, 28 Apr. 2019, www.1stdibs.com/introspective-magazine/ludwig-mies-van-der-rohe/.