Hobbs Modern Furniture

This Brazilian Modern Lounge chair could not be more comfortable! The MP-97 was designed by Percival Lafer. With its solid jacaranda hardwood frame, original leather straps, and new ...

The beautiful Swan chair was designed by Arne Jacobsen in 1958 for the lobby and lounge areas of the SAS Royal Hotel in Copenhagen. The design contains no straight lines, making it l...

La Fonda coffee or large end table designed by Charles and Ray Eames and manufactured by Herman Miller. This series was designed for the La Fonda restaurant, designed by Alexander Gi...

This incredibly comfortable and lovely sofa designed by Sergio Rodrigues has been restored with careful historical accuracy. We have restored the wood frame and made new leather cush...

Designed in 1968 by Preben Fabricius and Jorgen Kastholm for the German furniture manufacturer Alfred Kill, the Grasshopper Lounge Chair is an icon of mid-twentieth century Danish de...

Who is ready for a mid-century modern tea party? This vintage set designed by Paul McCobb for Jackson China Ceramic Sugar Bowl, Milk Pitcher, and Bowl in rare vivid blue will make yo...

Shell lounge chair, model FH 1936 designed by Hans J. Wegner in 1948 and shortly manufactured by Fritz Hansen in the early fifties. After the second world war various designers exper...

Rare large walnut coffee table by Milo Baughman for Glenn of California c.1950s, USA. This unique table features ample storage with two deep hinged cabinet doors. The cabinets open t...

The Floating Seat and Back Sofa is a unique and iconic piece of furniture designed by the American furniture designer Vladimir Kagan. This sofa is known for its distinctive shape, which features a curved back and a seat that seems to be suspended in mid-air. This design element gives the sofa its name and creates a sense of weightlessness. The sofa is designed to be both comfortable and visually striking, with its unusual shape making it a focal point in any room.  The Vladimir Kagan Floating Sofa is often described as a perfect blend of form and function, as it not only looks great, but is also incredibly comfortable. The curved backrest provide support, while the suspended seat adds a level of softness and comfort. The piece is punctuated by beautiful solid walnut legs. The Floating Sofa has become an icon of mid-century modern design and continues to be popular with collectors and design enthusiasts today. It's a testament to the enduring appeal of Vladimir Kagan's design aesthetic, which marries form and function in a way that is both visually striking and comfortable. The sofa has been upholstered in a beautiful high quality mohair from the Netherlands. Dimension: 90L x 54 D x 31 H Seat Height: 17 H Vladimir Kagan was an illustrious American furniture designer whose historic career spanned nearly 65 years. Born in Germany in 1927, he immigrated with his family to the United States in 1938 fleeing from the rise of the Nazi regime. He studied architecture at Columbia and later apprenticed with his father, a master cabinetmaker, in his woodworking shop. In 1949, Kagan opened his own shop in New York, shortly thereafter releasing his first furniture collection, receiving the Museum of Modern Art, New York&Good Design Award & for his wrought-iron chair. His work is well-known for its avant-garde craftsmanship combined with comfort and functionality. The sensuous, organic forms take on human-like characteristics through exaggerated, curved lines. Kagan’s designs are produced with varying materials including brass, acrylic, aluminum and, most notably, wood. Over the course of his career, his work was highly sought after by celebrity clientele from Marilyn Monroe to Tom Ford, and he lent his design to projects such as Disneyland’sMonsanto House of the Future in 1964 and the Downtown Los Angeles Standard Hotel lobby redesign in 2002. Kagan lectured extensively on the history of modern furniture design at institutions including Parsons School of Design, Yale and Philadelphia University. A highly honored designer, he was elected president of the American Society of Interior Designers New York...

Poul Nørreklit desk model GP 160 by Georg Petersens Møbelfabrik, Denmark This is a rare and collectible lucite and rosewood desk. Lucite slab sides wit...

A rosewood Thin Edge dresser designed by George Nelson for Herman Miller with exquisite rosewood grain and early original white porcelain handles.  The George Nelson Rosewood Thin Edge 4-drawer Dresser, crafted by Herman Miller, epitomizes the timeless elegance and functional sophistication synonymous with mid-century modern design. This dresser stands as an iconic piece within the George Nelson collection, renowned for its clean lines, minimalist aesthetic, and impeccable craftsmanship. This particular example boasts exquisite rosewood grain and early original white porcelain handles. Constructed from rich rosewood veneer, the dresser boasts a warm, organic hue that exudes luxury and refinement. Its slender profile and thin edges create an illusion of lightness, enhancing the overall sense of modernity and grace. The 4 spacious drawers feature seamless integration of hardware, maintaining the dresser's sleek appearance while providing ample storage space for clothing, linens, or personal belongings. Each detail of the George Nelson Rosewood Thin Edge series reflects an unwavering commitment to both form and function. Its timeless design transcends trends, making it a versatile addition to any interior decor scheme, from minamalist to post-modern. Whether used in a bedroom, living area, or office space, this dresser elevates the ambiance with its understated elegance and unparalleled craftsmanship, showcasing the enduring legacy of George Nelson's visionary design ethos. About the Designer: Not everyone thinks of George Nelson when they think “Modernism”—but they should. Here’s why: Looking at the outset of George Nelson’s career, few would have guessed that his legacy would crown him as one of the most influential individuals in Modernism—story has it that the young Ivy Leaguer stumbled into the Yale School of Architecture seeking shelter from the rain, and only then did he consider studying design. His legacy, though, would be one that touched nearly every corner of American Modernism as we think of it today. As an architect, author, furniture designer, graphic designer, exhibition designer, teacher, amateur photographer, and general provocateur, George Nelson shaped the course of design in America for over four decades. After completing his two Bachelor’s degrees (one in architecture, the other in fine arts), Nelson went on to accept a traveling fellowship in Rome, which interfaced him with figures like Ludwig Mies Van Der Rohe, Walter Gropius, Le Corbusier, and Gio Ponti all of which he interviewed forPencil Point, bringing the European vanguard to the attention of the magazine’s American readership. At this point in his career, Nelson had devoted himself to writing, joining Architectural Forum as its first associate editor in 1935. For nearly a decade, Nelson’s post as an editor brought him face-to-face with many of the leaders of the Modernism movement in the U.S., and through these exchanges, his own stance in the design world began to solidify. For Nelson, the purpose of design was to improve the world in accordance with the laws of nature—and while he hadn’t yet done much designing himself, he was busy teasing out the theoretical details of architecture. In 1940, Nelson co-authored Tomorrow’s House with Henry Wright, and the book went on to be a great commercial success, introducing concepts like the “family room,” and more broadly assuming a solutions-based perspective for architectural design. It wasn’t long before the book earned him the favorable attention of D.J. Depree, the chairman of Herman Miller the American furniture manufacture. Despite Nelson’s inexperience in furniture design, Depree saw potential in the writer’s approach to the industry: solutions-oriented design with a practical lean. Nelson became the company’s Director of Design in 1947, under the condition that he be allowed to continue his work outside of the company.  From 1947 to 1972, Nelson oversaw the design department at Herman Miller, bringing in the icons that would shape some of the most memorable pieces of mid-century design, from such people as Ray and Charles Eames and Harry Bertoia to Richard Schultz, Donald Knorr, and Isamu Noguchi. 

Beginning in the mid-1950s, Nelson’s own design firm began its work in earnest, producing furniture and pioneering a ubiquitous incorporation of design, bringing that same consideration for pragmatism and aesthetics to advertising and marketing materials, image management, and graphic programs. His own firm incorporated in 1955, tapping many of the same designers from the Herman Miller roster for collaborations under George Nelson Associates, Inc. It was during this period of Nelson’s life and career that many of his most iconic designs came onto the scene—many will be instantly familiar furniture silhouettes that perhaps you didn’t know sprung from George Nelson himself.  Designing his first collection in 1945 and appointed design director in 1947, Nelson quickly expanded his purview and transformed the company. Confirming De Pree’s early assessment of Nelson as someone “thinking well ahead of the parade,” he redesigned everything from Herman Miller’s product line to its graphics and marketing and advertising materials. Over the course of his long association with Herman Miller, Nelson designed hundreds of pieces of furniture and recruited other designers, including Charles and Ray Eames, Alexander Girard, and Isamu Noguchi, now all widely acknowledged as some of the brightest talents of the time. Nelson developed his own designs—from furniture to architecture, and exhibitions to graphics—in his New York City studio, known variously over the years as George Nelson, George Nelson & Associates, and George Nelson and Company. The staff included significant designers in their own right such as Irving Harper, George Mulhauser, Ernest Farmer, Gordon Chadwick, George Tscherny...

Knud Joos Rosewood Side Table with beautiful steel frame. Dimensions: 16.5 L x 16.5 W x 16.25H About the Designer: Knud Joos was a Danish furniture designer and craftsman know...

Kaare Klint for Rud.Rasmussen, sofa #4118, made with leather and mahogany, Denmark. Designed in 1930's, we cant pinpoint the exact production date of this sofa. Kaare Klint original...

Paul McCobb Calvin Group Dresser with dark Mahogany case, wood legs and stretcher and awesome pink marble Top. 2 doors open to reveal 4 drawers and an open cabinet with adjustable sh...

Set of Three Vintage Decorative Jacks made of iron with black lacquer in the style of Bill Curry.  Use these as great paperweights or to add texture and interest to a deskscape. Th...

An iconic design by Arne Vodder Triennale 4-drawer dresser was produced by Sibast Mobler, circa 1950. Constructed in teak, the 4-drawer dresser i...

Mid-Century desk chair designed by Erick Buch for Christiansen Møbelfabrik Denmark (only one pictured). Features a solid teak frame and beautifully curved backrest that provide suppo...

Rare Large Liljian Candlestick Holders by Ivar Åhlenius Björk, Sweden Circa 1960 made by Ystad Metal in Sweden. slightly patinated. Dimensions: 4.75”H x 8.5”W Base width: 3.15”

As architecturally fascinating as it is aesthetically pleasing, this iconic table, designed by Peter Løvig Nielsen in the early 60's. Featuring turned edges built of solid teak with ...

This vintage lounge chair was designed by the Danish designer Fredrik A. Kayser. The frame is made of a beautiful teak with gently sloping arm rests and a deep-inclined seat for maxi...

Robert Sonneman eyeball floor lamp circa 1960s, USA. The lamp features a chrome sphere shade on a pivoting arm that can be adjusted to mult...