Travertine Top Low Table by Vladimir Kagan for Kagan Dreyfuss

This rare collectors piece is a documented and signed low table designed in 1949 by Vladimir Kagan and produced through the 1950's while Kagan was partnered with Hugo Dreyfuss. Signed underneath with the Kagan-Dreyfuss stamp as can be seen in the photos, which reads Kagan-Dreyfuss New York, A Vladimir Kagan Design. Featuring Alexandra Kasuba ceramic art tiles over rough-etched oak and brass sheet legs. The Kasuba tiles feature a design of modernist horses and trees in colors of red, orange, yellow and green over a black background. This example is the larger 84" width of the design and ideal either as a long coffee or cocktail table or a low console / media table placed against a wall. Excellent option to place a sculpture or pottery and plant while displaying the beautiful Kasuba art tiles. This piece is functional fine art for your floor. Extremely rare and sought-after by collectors, this early production Kagan design produced during the Hugo Dreyfuss years. Items stamped with the Hugo-Dreyfuss stamp are exceptional pieces held in collections of fine art and design connoisseurs. Interior designers, get this for your most difficult-to-please high-profile client. *The Paul Evans Patchwork Copper sideboard and the emerald green velvet Togo sofa...

Vladimir Kagan for Dreyfuss Mid Century Walnut Tri-Symmetric Coffee Table This coffee table measures: 47 wide x 34.5 deep x 16 inches high Great Vintage Condition – Gentle Wear on ...

Vladimir Kagan for Dreyfuss Mid Century Walnut Tri-Symmetric Coffee Table This coffee table measures: 47 wide x 35.5 deep x 15.25 inches high Great Vintage Condition - Gentle Wear ...

A bar cart with folding black Micarta top and matching tray. Mahogany frame with brass details, and caster feet. Designed by Vladimir Kagan for Kagan-Dreyfuss. The Micarta surfaces ...

This rare gem of a side table is by Vladimir Kagan, during his early years with Hugo Dreyfuss featuring his highly-sought-after-by-collectors mosaic tiles on the table top and sculpt...

This rare and complete set of signed nesting side tables by Vladimir Kagan, during his early years with Hugo Dreyfuss, features eight hand made ceramic art tiles by Alexandra Kasuba....

This rare collectors piece is an early Vladimir Kagan for Kagan-Dreyfuss 'Capricorn' tiered side table featuring a pierced enameled steel top which is reminiscent of designs by Mathi...

This rare and important model #VK-201 sculptured Rosewood and Walnut 'Round Extension Dining Table' by Vladimir Kagan for Kagan-Dreyfuss was designed in 1958, this example produced between 1958 and 1960, during Kagan's partnership with Hugo Dreyfuss which ended in 1960. This rare example is stamped with the Kagan-Dreyfuss branded marks on the underside of the table and under one of the two leaves, and serves as an important early example of this sought-after design, perfect for collectors, art and design investors, and interior designers working on high profile projects. This Model VK-201, described in Kagan's early catalogues as a 'Round Extension Dining Table in walnut with rosewood top' has Kagan's signature gorgeous sculpted legs in solid walnut along with a magnificent vivid-grained Rosewood top. Just look at the closeup photos of the sculpted edges and tailored legs... this table looks more like a sculpture than merely just furniture. Quality of materials and craftsmanship you don't find in todays products - this table is the epitome of the saying 'they don't make them like they used to'. Ultra refinement in this gorgeous collectors piece which extends from a dining or card / game / cafe table seating for four, to a larger dining or meeting table suitable for eight. With no leaves - the table is 48" round and with both leaves extends to 96" while retaining a very nice 48" width. Vladimir Kagan's works have been highly valued by collectors and art / design investors, and his earlier works in the 1950s partnership with Hugo Dreyfuss (Kagan-Dreyfuss from 1950 to 1960) are among the most sought after by 'purist collectors' like myself. Why do I prize his 1950s works above all else? I can write a short book on this, but one easy to explain reason is that this was a period unlike the rest of his career, where items produced in this time are hallmarked within that period - a distinction that his later works lacked. Essentially, everything post the early 60s blended together with the decades thereafter. A novice Kagan collector is content with anything by Kagan, even items produced by Directional and American Leather Company...

Designed by George Greenamyer for Vladimir Kagan. Ceramic base measures 14.5"W x 14.5"D x 15.25"H. Signed. From Greenamyer's web site: In 1964 I was one of 5 artists who founded the Pulpit Rock Artists Community in Woodstock, CT, to create studio space for new graduates. I exhibited my ceramic sculpture and I was commissioned to make ceramic furniture by Vladimir Kagan Associates. My teaching career started in 1968. My welding and foundry background was a key factor in my being offered a full-time position and being told to develop a sculpture department. In 1981 I became a full professor. I had the opportunity in the late 80s to design, with my shop technician, a "state of the art" metalworking and foundry facility. My classes were in welding, blacksmithing, foundry and 3D design. I have also taught workshops at Haystack in Maine, Penland in North Carolina and at other colleges. In 2005, I was designated professor emeritus. I still teach one welding class In the early 70s, I switched from ceramic to metal sculpture, which I exhibited where ever I could. In 1976, I completed my first major public art commission for the Massachusetts Bay Transportation Authority. In 1977, I won an Artists Fellowship Grant from the Massachusetts Arts and Humanities Foundation and a Louis Comfort Tiffany Foundation Grant. In 1979 I was a research fellow at the Center of Advanced Visual Arts at MIT to pursue my interest in kinetics. In the early 80s I had a large solo show at the Lopoukhine Gallery in Boston, the Laumeier Sculpture Museum in St. Louis and the Neil Gallery in New York City, where I was represented for 3 years. My sculpture is in the permanent collection of several Massachusetts museums: the Fuller Art Museum, Brockton; the Art Complex Museum, Duxbury; the DeCordova Museum and Sculpture Park, Lincoln and on the campus of Boston University and Massachusetts College of Art and Design. During the mid 80s to early 90s, I did the ice sculpture component of seven ice sculpture/performances in collaboration with other artists at First Night, Boston, and the Laumeier Sculpture Park in St. Louis, MO. In 1995, I was one of 18 artists who created a miniature golf hole for Strokes of Genius and in 2007, one of 12 artists that created sites for model trains called Trainscapes, both at the DeCordova Museum and Sculpture Park in Lincoln, MA. In the mid-80s I made the choice to focus my career efforts on public art commissions obtained through national competitions. Public art commissions allowed me to produce work in a size I could never afford. I liked the challenge of solving the design problems of the site and selecting a narrative that makes sense to the project and the committees. I could incorporate kinetics (sometimes fiber optics) and hired a mechanical and a structural engineer...

Restored vintage Propellor Table, designed by Vladimir Kagan for Selig. Redone in our dark walnut finish, featuring the signature nickel stretcher refinished in bronze, and a brand-...