Items Similar to Kem Weber for Lloyd Mfg, chromed steel and red/coral vinyl, 1930 Art Deco
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Kem Weber for Lloyd Mfg, chromed steel and red/coral vinyl, 1930 Art Deco
$1,400
£1,058.23
€1,216.09
CA$1,949.49
A$2,168.73
CHF 1,136.88
MX$26,501.34
NOK 14,476.69
SEK 13,627.80
DKK 9,077.65
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About the Item
Lovely example of (Karl Emmanuel Martin) Kem Weber Cantilever Lounge Chair manufactured by Lloyd.
Vinyl is in a surprisingly good condition with few minor pinhead size spots. It is red/coral color. No tears or cracks.
Chrome plating is worn out in many spots and there's some rust. Metal was cleaned, treated with rust stopper but ideally it should be re-plated. This is unfortunately pretty common for many of the chrome plated metal pieces from 1930. I could get a separate price for plating if interested.
Arm rests were re-coated in black gloss lacquer.
- Creator:Kem Weber (Designer)
- Dimensions:Height: 35 in (88.9 cm)Width: 24.5 in (62.23 cm)Depth: 29 in (73.66 cm)Seat Height: 17 in (43.18 cm)
- Style:Machine Age (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1930s
- Condition:Refinished. Minor losses. Arm rests refinished.
- Seller Location:Clifton Springs, NY
- Reference Number:1stDibs: LU4421138837932
Kem Weber
Architect and designer Kem Weber arrived in the United States in the vanguard of a wave of progressive Central European talents — among them, Rudolph Schindler, Richard Neutra, Paul T. Frankl and Ilonka Karascz — who would profoundly affect the course of modernism in the United States. In his new home, Weber created a wholly American form of modern design that is sleek and stylish, yet comfortable and practical.
Karl Emanuel Martin Weber — “Kem” was his self-styled nom d’usage — was born and trained in Berlin. In 1914, he became an accidental immigrant to the U.S.. Sent to San Francisco by his teacher-turned-employer, architect Bruno Paul, to oversee an installation at a global design expo, Weber was marooned by the outbreak of World War I. But he quickly grew to love California, even if his early years there were difficult. When design commissions were hard to find, he took jobs as a lumberjack, chicken farmer and art school teacher. (He gained U.S. citizenship in 1924.)
In the mid-1920s, while working for the Los Angeles–based Barker Bros. department store — the largest furniture retailer in the country at the time — Weber regularly traveled around the nation to deliver lectures on modernism. His reputation as a champion of a new, clean and elegant style earned him architectural commissions and contracts to design furniture and items such silverware, coffee services and cocktail shakers. His masterpiece is the Airline lounge chair, designed 1934-1935. With its raked, gently angular frame and cantilevered seat, the chair suggests movement, speed and forward progress. Though it seemed perfect for mass production, Weber was never able to convince a major manufacturer to take it on. In the end, fewer than 300 Airline chairs were made. Today, those may be the rarest examples of Weber’s work, but are always worth looking out for. As you will see on these pages, his designs are both intelligent and stylish. They deserve to be a part of any serious collection of American modernism.
Roman Erlikh
Roman Erlikh is a professional woodworker with over 20 years’ experience. Roman Erlikh Studio creates bespoke and limited edition contemporary furniture and art objects. His first furniture collections were inspired by traditional Art Deco and Biedermeier styles interpreted through a modern lifestyle demands. Stepping away from merely utilitarian view of everyday objects, his recent collections are filled with meaningful textual context while incorporating traditional and modern woodworking techniques. Roman is using practical function as a common denominator to create emotionally charged art objects, blurring the boundary between art and function. While appreciating possibilities of ordinary materials, Roman is developing new mixed media multilayered composite varnishes and utilizes decorative gilding and mica veneer to actively engage ambient light, giving an additional aspect to relation of his objects to their environment. The decision to work in custom format was based on environmental concerns and opposition to culture of mass production and pure consumerism. The choice of materials was heavily influenced by sustainability and environmental concerns. All objects are made locally in the Brooklyn Navy Yard workshop. Elimination of storage and transportation needs for mass-produced furniture in lieu of creating a custom made objects on demand allows us to reduce waste of materials and energy.
About the Seller
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