Arm Chair, Modernage Furniture, circa 1928-32, in the style of Paul Frankl
- Of the Period
- Place of Origin
- Date of Manufacturecirca 1928-1932
- Materials and Techniques
- WearWear consistent with age and use. Minor losses.
- DimensionsH 30 in. x W 24.5 in. x D 30 in.H 76.2 cm x W 62.23 cm x D 76.2 cm
- Seat Height17.5 in. (44.45 cm)
- Seller LocationLos Angeles, CA
- Reference NumberLU89047616053
Shipping, Returns & Payment
- ShippingRates vary by destination and complexityShipping methods are determined by item size, type, fragility and specific characteristics.Shipping costs are calculated based on carrier rates, delivery distance and packing complexity.
- Return Policy
This item cannot be returned.View details
- Online Payment Methods1stdibs accepts the following payment methods
- Item InvoiceGenerate an invoice that you can customize and print.
About Paul Frankl (Designer)
His “Skyscraper” cabinets, introduced in 1924, are Frankl’s earliest and best-known designs (and the work by which he is most often represented in institutions, such as New York’s Metropolitan Museum of Art). Tall and narrow, the pieces have staggered shelves meant to mimic the setbacks of Manhattan office towers. A later visually expressive line — the “Speed” chairs and sofas, which have a raked profile suggesting motion — links Frankl to Donald Deskey, Raymond Loewy and other creators of “Streamlined Moderne” design.
Frankl moved to Los Angeles in 1934 and luxuriated in the climate and lifestyle. His designs became lighter and simpler and found an audience among the Hollywood élite. (Katharine Hepburn, Cary Grant and Fred Astaire were clients.) Fascinated by Asian arts, Frankl produced numerous pieces — tabletops with edges that curve upward; sofas and chairs with rattan frames — inspired by Chinese and Japanese forms and materials. In the 1940s, Frankl became one of the first designers to incorporate free-form, biomorphic shapes in his work, as well as novel upholstery fabrics such as denim and nubby wool.
Frankl biographer Christopher Long argues that the designer’s easy, elegant aesthetic had an enormous influence on movie set design. As the furniture below attests, Paul Frankl’s work is ready for its close-up.