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Vladimir Kagan Acrylic Barrel Lounge Chairs in Sheepskin, A Pair, 1970
$8,400per set
£6,364.82per set
€7,290.39per set
CA$11,897.65per set
A$12,983.10per set
CHF 6,809.85per set
MX$157,684.07per set
NOK 85,058.82per set
SEK 80,384.84per set
DKK 54,412.73per set
Quantity
About the Item
Sometimes, the most glamorous thing a chair can do is disappear. That’s exactly the magic trick Vladimir Kagan pulled off with these absolutely iconic acrylic barrel chairs. We currently have two pairs available, and they are nothing short of spectacular.
These chairs aren’t just furniture. They’re an experience. Upholstered in real creamy sheepskin, (none of that synthetic fluff) each seat is a tactile delight, inviting you to melt into luxury with a hint of rockstar attitude. The contrast between the warm, plush sheepskin and the cold clarity of the lucite frame is pure alchemy. They look like they’re floating in space, held together only by elegantly engineered circular chrome medallions that secure the seat to the frame at the sides and back. The design is so clean, so sculptural, it’s practically a wink to Charles Hollis Jones — with a little Gabriella Crespi allure thrown in for good measure.
The barrel backs aren’t just curved, they’re fluted ever so subtly, with a gentle outward splay at the top that adds a soft architectural gesture to an otherwise minimalist silhouette. Originally designed as barstools (because let’s face it, Kagan didn’t know how to do boring), these chairs were professionally shortened at the request of the woman of the house-- a patron of the arts, a philanthropist, and a certified glamazon, who transformed them into sumptuous, low-slung lounge chairs perfect for conversation, cocktails, or simply basking in your own good taste.
Now, about the provenance: these chairs have seen things. They came from the private collection of a family whose legacy spans both the arts and medical innovation-- we’re talking about a namesake arts center and cancer research facility. Their home was a rotating gallery of design royalty, and these chairs were part of that curated inner sanctum. Details available to serious buyers, of course.
As for Vladimir Kagan himself — if you know, you know. If you don’t, here’s a quick primer: born in Germany, Kagan immigrated to the U.S. and quickly became one of the most visionary forces in postwar American design. With a background in architecture and sculpture, he designed furniture that felt fluid, futuristic, and often ahead of its time. He championed curvilinear forms when others were still chasing Bauhaus boxes, and his work became synonymous with high-end collectors, celebrity homes, and iconic interiors. From the Omnibus sofa to the Serpentine chaise, his designs pushed boundaries; and these lucite barrel chairs are no exception.
These aren’t just vintage chairs; they’re living artifacts of mid-century glamour, reimagined for today. Think: Studio 54 meets Palm Springs art house, with a little bit of Copenhagen purity and a whole lot of editorial polish. Whether you place them in a glass-walled penthouse or a quiet reading corner, they’ll steal the spotlight without making a sound.
Two pairs available. Priced as sets. Once they’re gone… well, let’s just say they don’t come around often.
The original design can be seen on page 183 of "The Complete Kagan: Vladimir Kagan: A Lifetime of Avant-Garde Design"
- Creator:Vladimir Kagan (Designer)
- Dimensions:Height: 28.5 in (72.39 cm)Width: 20.5 in (52.07 cm)Depth: 20.5 in (52.07 cm)Seat Height: 17 in (43.18 cm)
- Sold As:Set of 2
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1970
- Condition:Additions or alterations made to the original: These have been altered to be lounge chairs. Wear consistent with age and use. There is minimal wear consistent with age and use. There is some patina and oxidation to the chrome hardware and minor scuffs / wear to acrylic frame. Not noticeable under casual observation.
- Seller Location:Culver City, CA
- Reference Number:1stDibs: LU1139246744862
Vladimir Kagan
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 1stDibs, even decades after their conception, Kagan pieces still command the eye, with their freshness, energy, sensuality and wit.
About the Seller
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