Furniture

A walnut cabinet with brass cleats, rosewood drawers and antique Chinese printing blocks. Designed by Edward Wormley for Dunbar.

Spectacular Mid Century Parsons Executive desk in Honduran mahogany by Roger Sprunger for Dunbar. Beautifully refinished. Minor repairs at two corners and appear exaggerated in photo...

A rare and beautiful two-door cabinet with solid brass knockers and Spanish marble top. Designed by Edward Wormley for Dunbar. Has two adjustable shelves and the original 'D' key.

Beautiful chest of drawers designed by Edward Wormley for Dunbar. The cabinet 5 drawers, the top drawer comes with separations for different garments. The piece is in good vintage condition and it retains the original Dunbar tag. Measurements: 36 inches wide x 18 inches deep...

An octagonal gaming or entry table with a leather wrapped cruciform base with brass levelers, and the solid walnut top having an inlaid rosewood Starbur...

This is a 1950s walnut coffee table designed by Edward Wormley for Dunbar….often called the “Long John”. It is one of his more iconic pieces....

A wonderful pair of chairs with accompanying ottoman by Edward Wormley for Dunbar. Features a generous and comfortable seat, button back, and solid brass tapered legs. Rare to find s...

"This impressive showcase / room divider was a Custom order designed by Edward Wormley for Dunbar. Features a rectangular walnut case raised over large silver tapered metal legs The ...

An iconic set of 12 chairs designed by Carlo Scarpa for the Auditorium in Via della Conciliazione, Rome on a project by Architect Marcello Piacentini 1950 this set from the first a...

Edward Wormley design credenza model 5668A for Dunbar. Ebonized walnut case with newly caned front sliding doors and four drawers across the top. Comprising a fitted interior for mas...

12 Light chandelier designed by Carlo Scarpa for Venini , Model 99.37 in Murano Italy. This Chandelier originally designed in 1940 was manufactured in 2009. All the pieces are in ...

A pair of cerused tambour door serpentine cabinets designed by Edward Wormley for Dunbar.

Edward Wormley Toadstool ottoman Dunbar. Stained oak, enameled steel, wool. USA 38 D x 15 H inches. Edward Wormley for Dunbar toadstool ottoman upholstered in wool.

American Modern Brass /Wood/Glass Coffee Table, Edward Wormley for Dunbar.

Absolutely gorgeous vintage Edward Wormley for Dunbar Sheaf of Wheat travertine and walnut coffee table, circa 1960. Superb patina a...

A gorgeous pair of Mid-Century Modern sculpted walnut twin headboards By Edward Wormley for Dunbar USA, 1950s Measures: 42.25"W x 1.75"D x 36.13"H. Very good original vin...

Rare game table in mahogany with gently curving legs and sides with inset red leather top by Edward Wormley for Dunbar, American 1940's (signed with green metal tag on bottom ”DUNBAR...

Introducing the Mid Century Modern Chest of Drawers/Secretary by Edward Wormley for Dunbar, a stunning piece of furniture that's sure to elevate any space,this dresser boasts a sleek and sophisticated design that perfectly captures the essence of mid-century modern style. Featuring five spacious drawers, this chest of drawers is perfect for storing all your essentials. Whether you are looking to organize your clothing, accessories, or other personal items, this dresser has ample space to accommodate it all. But what really sets this piece apart is its unique secretary...

Dining table mod. Delfi designed by Carlo Scarpa and Marcel Breuer for Gavina. Composed of two sculptural bases and a rectangular top 4 cm thick. Made in Carrara marble. Italy 1968. ...

This set is absolutely divine! Designed by Edward Wormley for Dunbar in the 1950's this set was manufactured to be of the absolute highest quality, and to last forever... which it ki...

A rare set of "Janus" wing chairs and ottomans designed by Edward Wormley for Dunbar. One of his most iconic designs! In the Janus Collection Wormley modernized the lines of eighteen...

More than just a bookcase but rather a small architectural masterpiece that is the focal point of any space, the Model 795 bookshelf (sometimes called the “Serie 1935” or “Liberia 19...

A beautifully restored pair of Dunbar Thebes stools designed by Edward Wormley.

A walnut cabinet with leather wrapped handles and spruce sliding doors. Designed by Edward Wormley for Dunbar.

This sweet early Wormley modern design makes a perfect vanity or desk chair. The fully upholstered seat swivels over dark stained mahogany legs joined by dowel stretches, with capped...

Architectural rectangular bench in brass square tube with upholstered seat, designed by Edward Wormley for Dunbar. Hand-polished brass, upholstered in a Bergamo brown wool mohair.

Edward Wormley for Dunbar magazine table. Model 5313. Beautiful striations throughout the mahogany top contrasted by the ebonized base. Note the small divot found on the table top an...

Mid-Century Modern Edward Wormley for Dunbar Furniture corner bookcase record console. Made of walnut featuring modular cubist "L" shape form with five tapered metal legs. Founded in 1910, Dunbar Furniture established a reputation for providing quality handcrafted products. The original Dunbar products were fine horse drawn buggies but with the invention of the automobile the company transformed into creating fine furnishings for the home. In 1931, Edward J. Wormley joined Dunbar as a young designer. Wormley's knowledge of furniture history and his global perspective became key in Dunbar's sucess over the next three decades. By the middle of the 20th century, Dunbar and Wormley had become true icons of American furniture design. The company participated in the 1950 Good Design exhibit with the Museum of Modern Art and dominated for the next three years. Dunbar and Wormley's legacy remain today as the company continues to produce for a growing international audicence. Vintage Dunbar Furniture...

This incredible 'Delfi' dining table designed by Carlo Scarpa and Marcel Breuer is composed of two sculptural Carrara marble bases and a matching thick rectangular marble top which h...

A beautiful pair of party sofas designed by Edward Wormley for Dunbar in original buttery soft light tan leather.

Rare pair of settees designed by Edward Wormley for Dunbar Furniture. Settees feature an armless profile complete with two mahogany "sled" like legs. These occasionally come up in so...

This spectacular design by Ed Wormley from his Janus collection for Dunbar, the model 5701 lounge chair and ottoman is a generous chair with a relaxing, deep seat and sumptuous cushi...

Elegant mid 1940s Edward Wormley for Dunbar curved sofa on six thick mahogany legs, with older re-upholstery in a Chinoiserie fabric. Upholstery is ...

Edward Wormley dunbar swivel lounge chair.

Extraordinary yet elegant oak wood chairs by Carlo Scarpa. Carlo Scarpa (2 June 1906 – 28 November 1978) was an Italian architect, influenced by the...

An early swivel chair designed by Edward Wormley for Dunbar with oak base and plush mohair upholstery.

Small chest of drawers, consisting of louvered walnut fronts and mahogany case. Five drawers total with the top being velvet lined to store various pieces if jewelry. Second drawer c...

An exceptional Mid-Century Modern sideboard, credenza, or bar cabinet By Edward Wormley for Drexel, "Precedent" Collection USA, 1940s Black lacquered elm wood, with original...

An extremely rare and exceptional Mid-Century Modern custom 14-foot walnut conference or dining table Designed by Edward Wormley for Dunbar Furniture USA, 1960s Figured waln...

An exceptional Mid-Century Modern extension dining table By Edward Wormley for Dunbar Furniture USA, 1950s Book-matched walnut top, with ebonized walnut banding and legs. ...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Mid-Century Modern Loveseat designed by Edward Wormley for Dunbar, circa 1950-1959. Completely restored and reupholstered in grey cotton velvet by Holly Hunt. Other designers...

A set of four Edward Wormley for Dunbar high back dining chairs with mahogany bases. Fully restored and reupholstered.

Carlo Scarpa and Hiroyuki Toyoda for Simon Gavina, conference table, fabric top, chromed steel, Italy, design 1973 Elegant conference table was initially designed by Carlo Scarpa in...

Rare table top jewelry case / cabinet designed by Edward Wormley for Dunbar. Signed with the brass Dunbar metal tag. Walnut case and brass pulls. Two drawers...

A Gondola sofa designed by Edward Wormley for Dunbar’s Janus Collection in the 1950s. This sculptural sofa features angled arms and a floating back attached to the base with walnut s...

Beautiful antique Murano hand blown Sommerso clear white bubbles and gold flecks Italian art glass mini vase / vide poche. Documented to the Venini company, and created by master des...

“Poliedri” chandelier designed by Carlo Scarpa and produced by the Italian manufacturer Venini in, 1958. Made of opaline Murano glass. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, which are all worth mention. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were to be set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his greatest ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider being one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa began work building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem”, [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure”. Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded 8 years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana”, “Quatour” and “Orseolo”. While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Rare beautiful wood 12 feet to 14 feet 1/2 vintage Wormley extension dining/conference table for Dunbar This came from the executive conference room of the former Bank of the Southw...

Thebes stool / bench / footrest / footstool designed by Edward Wormley for Dunbar, 1950s. This example retains the original yellow and orange geometric design fabric. The finish on t...

A pair of beech, and white fabric lounge chairs designed by Edward Wormley and produced by Drexel, United States, 1940s. Measure: seat hei...

Beautiful and elegant pair of armless slipper / lounge chairs designed by Edward Wormley for Dunbar. These are in completely original condition: original yellow silk fabric and origi...

“Delfi” dining table, designed by Carlo Scarpa and Marcel Breuer and produced by the Italian manufacturer Studio Simon in 1969. Made of white Nax...

Labeled set of six mid-century modern caned dining chairs featuring new modern boucle upholstery redux. Iconic chairs designed by Edward Wormley for Dunbar having walnut frames in an angular design with an ebonized finish. The rectangular back has a cane inset...

An olive green stained walnut magazine tree with cantilevered shelves.

PAIR of American Mid-Century wooden nightstands with a single drawer. (EDWARD WORMLEY FOR DUNBAR)(PRICED AS PAIR)

Beautiful antique Murano hand blown Sommerso clear bubbles in champagne or caramel color with gold flecks Italian art glass ashtray. Documented to Venini company, and created by mast...

Pair of Edward Wormley tiered end tables precedent line for Drexel. An early pair of Edward Wormley modernism designed end tables. Architecturally brilliant and stunning these tables...