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Edward Wormley for Dunbar Y-Back Captain Chair

$3,000Asking Price

About

A 1954 design for an elegant armchair by Edward Wormley for Dunbar Furniture. Known as the Y-Back Captain chair for the distinctive forked brace supporting its caned backrest, the design boasts unique strength belied by its graceful frame. Curved rails of laminated wood (Wormley specified 21-ply pieces, compared to the average 5-ply favored by edgier modernists like Eames and Aalto) frame the seat and extend backward into stretched, angled legs, terminating in rounded brass sabots. This example has a painted frame in a creamy off-white. The seat cushion is upholstered in a cider-colored linen fabric with welted seams. Retains Dunbar brass label. Condition: Excellent vintage condition with new foam cushion and linen upholstery. Painted finish is in original condition with age-appropriate wear. Dimensions: 22.5” width x 22” depth x 33” height; seat height is 18” and arm height is 25”.

Details

  • Creator
    Edward Wormley (Designer),Dunbar Furniture (Manufacturer)
  • Dimensions
    Height: 33 in. (83.82 cm)Width: 22.5 in. (57.15 cm)Length: 33 in. (83.82 cm)Seat Height: 18 in. (45.72 cm)
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
    WovenCane,LaminatedWood,PaintedWood,Linen
  • Place of Origin
  • Period
  • Date of Manufacture
    1950-1959
  • Condition
    Reupholstered. Wear consistent with age and use. Excellent vintage condition with new foam cushion and linen upholstery. Painted finish is in original condition with age-appropriate wear.
  • Seller Location
    Los Angeles, CA
  • Reference Number
    Seller: ST16001stDibs: LU1645216517122

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Ships From: Los Angeles, CA
  • Return Policy

    This item cannot be returned.

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About Edward Wormley (Designer)

As the longtime director of design for the Dunbar furniture company, Edward Wormley was, along with such peers as George Nelson at Herman Miller Inc., and Florence Knoll of Knoll Inc., one of the leading forces in bringing modern design into American homes in the mid 20th century. Not an axiomatic modernist, Wormley deeply appreciated traditional design, and consequently his work has an understated warmth and a timeless quality that sets it apart from other furnishings of the era.

     Wormley was born in rural Illinois and as a teenager took correspondence courses from the New York School of Interior Design. He later attended the Art Institute of Chicago but ran out of money for tuition before he could graduate. Marshall Field hired Wormley in 1930 to design a line of reproduction 18th-century English furniture; the following year he was hired by the Indiana-based Dunbar, where he quickly distinguished himself. It was a good match. Dunbar was an unusual firm: it did not use automated production systems; its pieces were mostly hand-constructed. For his part, Wormley did not use metal as a major component of furniture; he liked craft elements such as caned seatbacks, tambour drawers, or the woven-wood cabinet fronts seen on his Model 5666 sideboard of 1956. He designed two lines for Dunbar each year — one traditional, one modern — until 1944, by which time the contemporary pieces had become the clear best sellers.

     Many of Wormley’s signature pieces are modern interpretations of traditional forms. His 1946 Riemerschmid Chair —an example is in the collection of the Museum of Modern Art — recapitulates a late 19th-century German design. The long, slender finials of his Model 5580 dining chairs are based on those of Louis XVI chairs; his Listen-to-Me Chaise (1948) has a gentle Rococo curve; the “Precedent” line that Wormley designed for Drexel Furniture in 1947 is a simplified, pared-down take on muscular Georgian furniture. But he could invent new forms, as his Magazine Table of 1953, with its bent wood pockets, and his tiered Magazine Tree (1947), both show. And Wormley kept his eye on design currents, creating a series of tables with tops that incorporate tiles and roundels by the great modern ceramicists Otto and Gertrud Natzler. As the items on these pages demonstrate, Edward Wormley conceived of a subdued sort of modernism, designing furniture that fits into any decorating scheme and does not shout for attention.

About the Seller
5 / 5
Located in Los Angeles, CA
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Established in 2010
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264 sales on 1stDibs
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