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Paul Frankl Rattan Ottoman

About

Paul Frankl bent rattan ottoman. Newly upholstered loose cushion.

Details

  • Materials and techniques
  • Condition
    Good.
  • Dimensions

    H 14 in. x W 25 in. x D 25 in.

    H 35.56 cm x W 63.5 cm x D 63.5 cm

  • Seat height
    14 in. (35.56 cm)
  • Seller location
    New York, NY
  • Seller reference number
    U3881
  • Reference number
    LU91376840833

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About Paul Frankl (Designer)

Born in Vienna, Paul Frankl came to the United States in 1914 as part of a wave of Central European design luminaries — among them Kem Weber, Rudolph Schindler, and Richard Neutra — who were drawn by the energy and optimism of the American scene. Prolific and protean, Frankl would go on to design furnishings that are emblematic of nearly every key stylistic chord in American modernism, from the streamlined Art Deco to free-form organic shapes.

     His “Skyscraper” cabinets, introduced in 1924, are Frankl’s earliest and best-known designs (and the work by which he is most often represented in institutions, such as New York’s Metropolitan Museum of Art). Tall and narrow, the pieces have staggered shelves meant to mimic the setbacks of Manhattan office towers. A later visually expressive line — the “Speed” chairs and sofas, which have a raked profile suggesting motion — links Frankl to Donald Deskey, Raymond Loewy and other creators of “Streamlined Moderne” design.

     Frankl moved to Los Angeles in 1934 and luxuriated in the climate and lifestyle. His designs became lighter and simpler and found an audience among the Hollywood élite. (Katharine Hepburn, Cary Grant and Fred Astaire were clients.) Fascinated by Asian arts, Frankl produced numerous pieces — tabletops with edges that curve upward; sofas and chairs with rattan frames — inspired by Chinese and Japanese forms and materials. In the 1940s, Frankl became one of the first designers to incorporate free-form, biomorphic shapes in his work, as well as novel upholstery fabrics such as denim and nubby wool.

     Frankl biographer Christopher Long argues that the designer’s easy, elegant aesthetic had an enormous influence on movie set design. As the furniture below attests, Paul Frankl’s work is ready for its close-up.

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