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Erica Chaise Longue by Vladimir Kagan

About

Beautiful streamlined modernist chaise longue by Vladimir Kagan. The clear lucite base gives this elegant design a small footprint, and a "floating" appearance. Re-upholstered in a lovely and soft, light beige Scalamandre velvet.

*Notes: There is no sales tax on this item if it is being shipped out of the state of Florida (Objects20c/Objects In The Loft will need a copy of the shipping document). Please feel free to e-mail or call us if you would like help with a shipping quote.

(key word search: Baughman, Springer)

Details

  • Condition
    Good. Very good, new upholstery, very minor scratches to lucite base. Please keep in mind that even if an item is restored or in very good condition, it is 20-80 years old and may have minor flaws, blemishes and very light surface imperfections. Therefore you should not expect a “new” or “flawless” item..
  • Dimensions

    H 33 in. x W 60 in. x D 26 in.

    H 83.82 cm x W 152.4 cm x D 66.04 cm

  • Seller location
    West Palm Beach, FL
  • Reference number
    U1204309025368

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About Vladimir Kagan (Designer)

The pioneers of modern furniture design in America in the mid-20th century all had their moments of flamboyance: Charles and Ray Eames produced the startling, biomorphic La Chaise; George Nelson’s firm created the Marshmallow sofa; Edward Wormley had his decadent Listen to Me chaise. But no designer of the day steadily offered works with more verve and dynamism than Vladimir Kagan. While others, it seems, designed with suburban households in mind, Kagan aimed to suit the tastes of young, sophisticated city-dwellers. With signature designs that feature sleekly curved frames and others that have dramatic out-thrust legs, Kagan made furniture sexy.

     Kagan’s father was a Russian master cabinetmaker who took his family first to Germany (where Vladimir was born) and then to New York in 1938. After studying architecture at Columbia University, Kagan opened a design firm at age 22 and immediately made a splash with his long, low and sinuous Serpentine sofa. Furniture lines such as the Tri-symmetric group of glass-topped, three-legged tables and the vivacious Contours chairs soon followed.

     Kagan’s choices of form and materials evolved through subsequent decades, embracing lucite, aluminum and burl-wood veneers. By the late 1960s, Kagan was designing austere, asymmetrical cabinets and his Omnibus group of modular sofas and chairs. For all his aesthetic élan, Kagan said that throughout his career, his touchstone was comfort. “A lot of modern furniture was not comfortable. And so comfort is: form follows function. The function was to make it comfortable,” he once commented. “I created what I called vessels for the human body.”

     A diverse group of bodies have made themselves at home with Kagan designs. Among the famous names who commissioned and collected his designs are Marilyn Monroe, Gary Cooper, Andy Warhol, David Lynch, Angelina Jolie and Brad Pitt, and firms such as Gucci and Giorgio Armani. His work is in numerous museum collections, including those of the Victoria & Albert and the Metropolitan Museum of Art.

     Because of its idiosyncrasy, Kagan’s work did not lend itself to mass-production. Kagan never signed on with any of the major furniture-making corporations, and examples of his designs are relatively rare. As you will see from the offerings on these pages, even decades after their conception, Kagan pieces still command the eye, with their freshness, energy, sensuality and wit.

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