Midcentury Armchairs in Walnut and Chartreuse Velvet, in Harvey Probber Style For Sale
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Midcentury Armchairs in Walnut and Chartreuse Velvet, in Harvey Probber Style

About

Sculptural, comfortable pair of Mid-Century Modern lounge or club chairs attributed to Harvey Probber, late 1950s-early 1960s. These have been fully restored with new foam and are reupholstered in a cotton blend chartreuse velvet. Walnut legs have been lightly refinished. Lovely button tailoring and brass foot caps lend visual interest--these are just stunning! Would work well in a modern or contemporary interior, but would also play well in a traditional setting or with Fine antiques--they are truly a go-anywhere design! Fully restored from stem to stern and in excellent, like new condition. Measures: Seat depth is 19.5", seat height is 17". 29.5" overall height, 28" at the widest point and 28" deep. Available to view at our NYC showroom in Chelsea! Whether furnishing a contemporary Soho loft or stylish post-war Park Avenue penthouse, an artistic Central Park townhome or your eccentric Brooklyn brownstone, our team is happy to help. We ship anywhere, so we can also assist you with that retro Palm Springs POOL house, unique Hollywood Hills estate or chic Paris pied-à-terre!  

Details

  • Period
  • Materials and Techniques
  • Condition
    Good
  • Condition Details
    New foam and fabric--excellent condition. Walnut lightly refinished and in very good condition. Brass feet left as found and in good condition. Overall very good to excellent condition.
  • Wear
    Wear consistent with age and use.
  • Dimensions
    H 29.5 in. x W 28 in. x D 28 in.H 74.93 cm x W 71.12 cm x D 71.12 cm
  • Seat Height
    17 in. (43.18 cm)
  • Seller Location
    New York, NY
  • Sold As
    Set of 2
  • Reference Number
    LU1084013172271
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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

4.8 / 5
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1stdibs seller since 2014
Located in New York, NY
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