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Rare John Saladino for Dunbar Petal Settee / Loveseat in Jack Lenor Larsen Plaid
$7,500
£5,697.48
€6,560.61
CA$10,729.51
A$11,769.23
CHF 6,068.95
MX$140,571.81
NOK 76,972.77
SEK 72,209.19
DKK 49,027.32
About the Item
New York interior designer and architect John F. Saladino (1939-2025). John designed this 1970s rarely seen small-scale Petal Settee (#7009), sofa or loveseat for Dunbar, has its original vintage Jack Lenor Larsen lilac, orange & gray plaid upholstery. Settee has castors as front legs, and low profile round rear feet. Dunbar Label. Seat depth is 21". Matching petal chair (#7008) available in separate listing.
From one owner estate who built a Post Modern home in the mid 1970s on one of the most sought after streets in St.Louis. Know for their local ties to the St. Louis Arts Community, civic contributions and philanthropy. Best remembered for leading efforts to buy and preserve the Ruth and Russell Kraus House, now known as The Frank Lloyd Wright House in Ebsworth Park.
1939-2025 - Obit - Santa Barbara Independent
John Saladino, the self-taught international designer of estates, luxury towers, interiors, gardens, and furniture, died July 26th at his home in Montecito, California. He was 86.
For nearly 60 years, John created exquisite living environments for prominent people, including Judith and Brian Little, Paul Junger Witt, Susan Harris, Norman Lear, and Joel Grey.
Saladino’s signature style, which merged classical elements with modern design—was an unheard-of combination in the early 1960s. “I mixed the machine with the palace,” he often commented. Magazine editors quickly took note, and Saladino-designed homes graced the covers of high-profile shelter magazines, such as House & Garden, Veranda, and The New York Times Magazine. At its height, his eponymous design firm in New York City, housed in a block-long building in the New York Design Center on Lexington Avenue, employed over forty people.
Born to Italian-European parents in Kansas City, Missouri, Saladino evinced an innate interest in residential design at an early age. While accompanying the family housekeeper to the trolley, Saladino would sneak into the local drugstore to purchase Town & Country Magazine featuring spreads of great houses all over the world. He shocked his Cub Scout den mother with his version of the Troop’s plywood scrapbook project; the 9-year-old Saladino’s scrapbook featured layouts of Jacobean architecture (as opposed to images of professional baseball players). Saladino’s father, a physician, was informed of his son’s creative talent by one of his patients, renowned painter Thomas Hart Benton, who, after viewing young Saladino’s drawings, proclaimed, “This child has serious talent!”
Saladino graduated from the University of Notre Dame and later received his MFA from Yale School of Art and Architecture, alongside classmates Charles Gwathmey, Robert A.M. Stern, Chuck Close, Richard Serra, and Nancy Graves. “It was an interesting recipe, and if you survived that group of piranhas, New York City was actually not that bad,” he later remembered of his Yale experience.
He founded his prestigious New York firm in 1969, and as his success increased, he purchased an 18-acre estate in Connecticut called Robin Hill. The seven-bedroom Neo-Georgian home became both a weekend refuge and a party locale for Saladino, his beloved wife Virginia, and their son, Graham. The Saladinos entertained in grand style, with copious amounts of silver, china, crystal, and floral arrangements. Descriptions of the aesthetic rituals associated with these social events found their way into Saladino’s first book, Saladino Style, which also features early examples of the designer’s work.
Unable to locate appropriate furniture to satisfy his exacting standards, Saladino established his own 80-piece collection in 1987. (That Business, helmed by his son Graham Saladino, continues to thrive; his glass cylinder lamp, first produced in 1971, remains a modern and timeless best seller.)
Saladino’s landscape designs often rivaled his interiors, as evidenced by Villa, his second book documenting his restoration of an early 1930s stone house and grounds in Montecito, where he relocated in the 1990s. As with design, Saladino’s interest in landscape dated back to his childhood, where the family gardener taught young Saladino how to plant rose bushes and trim trees.
“You’ll know you’ve been successful [with garden design] when people become very quiet,” he has said, “that means they are doing the same thing they do at a concert – they’re sitting still to escape into a transcendental world.”
- Creator:Dunbar Furniture (Manufacturer),John Saladino (Designer)
- Dimensions:Height: 29 in (73.66 cm)Width: 58 in (147.32 cm)Depth: 32 in (81.28 cm)Seat Height: 18.5 in (46.99 cm)
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1977
- Condition:Wear consistent with age and use. In very fine condition, well maintained. I see no issues. Little to no wear.
- Seller Location:St. Louis, MO
- Reference Number:1stDibs: LU820246961582
Dunbar Furniture
Revered for its handcrafted and highly collectible mid-century modern sofas, coffee tables and other furnishings, Dunbar Furniture was founded in 1910 in Berne, Indiana, but it didn’t gain widespread recognition until the ’30s, following the introduction of its president to a designer who would leave an indelible mark on the company’s legacy: Edward Wormley.
After a stint at the Art Institute of Chicago, the Oswego, Illinois-born Wormley worked as an interior designer for Marshall Field’s before joining Dunbar in 1931. Initially focused on developing the company’s cheapest furniture line, which could be bought with soap coupons, he was soon leading Dunbar Furniture into a new era of residential furniture for modern American homes. He would serve as the company’s design director for over three decades, designing about 150 pieces each year.
During that time, he oversaw the production of designs in a wide range of materials, with influences ranging from Scandinavian modernism to Art Deco. There were modern upholstery pieces, like swiveling lounge chairs and low-slung sofas, and experiments with textural wood on bar carts and cabinets as well as minimal, sculptural tables and functional office furniture. A passionate collector of Tiffany Studios lamps, Wormley used their glass tiles in Dunbar tables in 1956. He also worked on the reproduction of pieces by designers such as Jean-Michel Frank and Richard Riemerschmid.
One standout Dunbar Furniture collection was Janus, introduced in the 1960s, with Austrian-born ceramicists Otto and Gertrud Natzler. These pieces see the Natzlers’ uniquely artful ceramic tiles set into several styles of wooden tables. They remain some of the most sought-after mid-century modern Dunbar pieces on the vintage market today. During the peak of his design career and, indeed, the height of Dunbar Furniture’s history, Wormley amassed a whopping 30 Good Design awards between 1950 and 1955 through the “Good Design” exhibition, hosted by the Chicago Merchandise Mart and the Museum of Modern Art. Dunbar today produces a limited selection of archival Wormley designs, but many sales of original Dunbar pieces are through the resale market.
Find a collection of authentic vintage Dunbar Furniture today on 1stDibs.
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