Furniture

An exceptional Mid-Century Modern gentleman's chest of drawers By Paul McCobb for Directional and produced by Calvin Furniture, "Irwin Collection" USA, 1950s Black lacquered...

Paul McCobb for directional midcentury slipper chair. This chair measures: 25 wide x 25.75 deep x 31.5 high, with a seat height of 17 and arm height/chair clearance 24.5 inches ...

Storage unit designed by Paul McCobb in 1952. The foundation of the Cache series, part of Paul McCobb’s extensive Planner series, is a beautifully simplistic and easy table with ...

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 ...

USA, 1960s Mid-century buffet or sideboard designed by Paul McCobb for Calvin Furniture. Walnut, aluminum, and leatherette. The clean modern lines from the Linear Group...

For you interest is a dining table designed by famed designer Paul McCobb. Produced by Calvin as part of the Irwin Collection. A round table with out the leafs and a larger dining ta...

All original Paul McCobb walnut and brass two piece sectional sofa from the designer's coveted Directional collection. The rare Mid-Century Modern set features: a model 5006-L left arm sofa; a model 5004-R right arm loveseat; set-in arm detail; original burnt orange wool fabric; walnut legs; brass stretchers. 100% original condition. The perfect seating arrangement to accent any decor! The couch measures approximately 77.5 in (196.85 cm) W x 34.5 in (87.63 cm) D x 32.5 in (82.55 cm) H. The settee measures approximately 51.5 in (130.81 cm) W x 34.5 in (87.63 cm) D x 32.5 in (82.55 cm) H. The two pieces can also be used together to create one long sofa measuring 129.75 inches (329.56 cm). The dimensions listed under Item Details are if the two pieces are used as a sectional with a square corner table...

A rare lounge chair designed by Paul McCobb for Directional.

Introducing a stunning pair of Paul McCobb Lounge armchairs, epitomizing the sleek elegance and sophistication of Mid-Century Modern design. These iconic chairs feature a sturdy mapl...

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. ...

Spectacular 1960s rare mid-century end/ side table designed by Paul McCobb for Winchendon Furniture Company, 1960s "Perimeter Group". Features an oval shaped top in beautifully grain...

Mid-century Paul McCobb Calvin Line Leather Walnut Cabinet Offered for sale is a Mid-Century Modern cabinet designed by the iconic designer Paul McCobb. This cabinet is for the high...

Model 1522, maple dining table by Paul McCobb for Planner Group, Winchendon, is iconic midcentury design that never goes out of style. The table can accept leaves but no leaves are p...

Table designed by Angelo Mangiarotti Castore is a glass and marble table by Italian architect, sculptor and designer Angelo Mangiarotti. Designed in 1975 for Sorgente dei Mobili,...

Rare architectural walnut and stone desk designed by Paul Mccobb for Calvin Furniture in the early 1950's. The left hand pedestal features a slide out work surface, a small drawer...

Set of 2 Mid-Century Modern iron stools by Paul McCobb. Newly reupholstered as they originally were, with no-sag springs, foam and a thick vintage ...

Paul McCobb Connoisseur midcentury side end table. This side table measures: 32 wide x 26 deep x 24.25 inches high. All pieces of furniture can be had in what we call restored ...

Very nice and exceptional coffee table was designed by Paul McCobb with vitrolite glass top. This glass has not been made since the late 1940s or early 1950s. No chips were found in ...

Timeless mid-century modern 6 drawer dresser designed by Paul McCobb for Winchendon Furniture, circa 1950s. Maple wood construction sits on a b...

Paul McCobb designed desk for Winchendon Furniture in Mass. Part of the large Planner group collection Introduced in the early 1950s. Planner group being a collection of modular furn...

An exceptional pair of Mid-Century Modern armchairs or club chairs By Paul McCobb for Calvin Furniture USA, 1950s Elegant sculpted walnut frames, with upholstered seats. ...

Rare pair of Paul Mccobb side tables retaining the original white "carrera glass" tops. Part of the Irwin Collection by Calvin Furniture Co.. McCobb em...

Mid-Century Modern, low profile, lounge chair by Paul McCobb for Winchendon features a deep seated, black lacquered maple frame with spindle back and newly upholstered cushions in se...

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...

Mid-Century American (1950s) table lamp in triangular form from the Distinguished Designer Series featuring an extended silver metal stem plus three functioning light switch sockets ...

Paul McCobb for planner group midcentury nightstand. This nightstand measures: 22.25 wide x 14.25 deep x 23 inches high. All pieces of fu...

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...

Beautiful Paul McCobb Planner Group #1561 double pedestal 5 drawer desk blonde maple finish Brass knobs solid maple. Desk is in original vintage conditio...

A lounge chair and ottoman designed by the Iconic Paul McCobb for Directional, maple legs fully restored and refinished in medium walnut. Reupholstered in grey chenille. Other d...

Mid-Century Modern, two piece, walnut and brass, wall unit hutch credenza by Paul McCobb for Calvin Furniture, Irwin Collection features a bottom crede...

Paul McCobb for Directional midcentury occasional lounge chairs - pair. Each chair measures: 24.75 wide x 21 deep x 29.5 inches high, with a seat height of 17 and arm height/chair...

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...

Set of Six Mid Century Dining Chairs, designed by Paul McCobb for Calvin Furniture's Directional Line, American, circa 1950s. These chairs are currently being refinished and reuphols...

The price given applies to the table with 180cm width. The price for the larger version in 260cm is 5.900€. Table top in oak veneer, frame in steel. Finish: Lacquered tabletop, powder coated frame Beautiful Dining Table for The Cache series, part of Paul McCobb’s extensive Planner series. The Table can be complemented by a matching Cache Series Desk organizer and a Console table (both pieces are listed, too). A prominent figure in American mid-century design, Paul McCobb conceived the Planner series in the 1950s, a modular furniture series that brought modern design into middle-class American households. The aesthetic attribute of McCobb’s design is sleek and unadorned and at the same time warm and approachable. With its versatility and purity of form, the Planner series became one of the most successful commercial furniture...

Elegant Mid Century Dining Table, designed by Paul McCobb for Calvin Furniture's Directional Line, American, circa 1960s. The table expands from a 48" round to a 68" width oval with ...

Stunning Paul McCobb credenza for Calvin Linear Group cabinet, Classic Modernist Design.. Beautiful figured walnut..Aluminum trim and details..Two sliding doors (bottom).. Three draw...

Beautiful Paul McCobb for Calvin Furniture bed headboard in wonderful vintage condition. finely crafted with brass frame with red upholstery details. Fits a King sized mattress. Bed ...

Paul McCobb planner group midcentury 4-drawer dresser with sliding door cabinet. The bottom measures: 36 wide x 18 deep x 42.25 inches hig...

An original pair of Paul Mccobb night tables. Bleached Mahogany and White Vitrolite glass tops. Calvin metal manufacturing tags. mahogany,brass with white carrara glass tops.

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...

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...

American Mid-Century (circa 1950) 'Planner Group' maple coffee table with a rectangular top resting on four tapered dowel legs. (PAUL MCCOBB FOR WINCHENDON FURNITURE CO)

A rare and exceptional Mid-Century Modern swiveling table top vanity mirror By Paul McCobb for Bryce Originals USA, 1950s Black enameled steel, with...

Paul McCobb for Bell & Howell midcentury Hi-Fi radio console. This console measures: 72 wide x 19 deep x 34.75 inches high. All pieces of furniture...

Mid-Century Modern Chest by Paul McCobb (1917-1969) for Calvin Linear Group This walnut and aluminum chest having four center drawers with pulls. Grand Rapids, Michigan, 1950...

American Mid-Century blond maple student desk with a rectangular desktop supported on the left by two drawers with circular knob pulls resting on two short...

“Scuderia” dining table, designed by Carlo Scarpa and produced by the Italian manufacturer Bernini in 1977. Originally, Carlo Scarpa designed the table to restore the stable of Villa Valmarana in Vicenza in 1972. The table features a solid walnut structure. Available also five “Kentucky” dining...

Set of four dining chairs designed by Paul McCobb for the Winchendon Furniture (Planner Group) Co. Solid maple with a spindle supported backrest and signature inlay screw on each sea...

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

Mid-Century Modern, bleached mahogany, end table by Paul McCobb for Calvin, Irwin Collection features a leather top with brass trim, caned lower shelf and nickel plated brass pulls. ...

The Linear Group was designed by Paul McCobb and manufactured by Calvin Furniture. Constructed from walnut, brass, and glass, the display cabinet is compr...

This one of a kind book shelf is the perfect combination of classic design with a modern twist. Designed by the visionary Paul McCobb and produced by the Planner Group this book shelf has recently undergone a transformative transition from simple bookcase...

Paul McCobb lounge chair. Dark walnut frame was refinished and upholstery updated to a plush boucle. Additional photos available upon request. Would work well in a variety of int...

Paul McCobb for Planner Group, dining table model 1522, maple, United States, 1950s Dining table ‘1522’ in maple by designer Paul McCobb. This model features blond maple wood that i...

“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...

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...

Vaso a Bollicine Carlo Scarpa Venini & C. 1932 Measures: height cm 34, diameter cm 25 XVIII Biennale di Venezia del 1932 Bibliography: Murano Mi...

From the Paul McCobb Modular Planner Group line of Winchendon Furniture. Solid maple cabinet holds three drawers on one side single drawer with adj...