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Sofa or Bench with Brass Legs by Edward Wormley for Dunbar, Larsen Velvet

About

Rare sofa/settee or bench by Edward Wormley for Dunbar. This rare classic sofa features solid brass legs and was reupholstered in the early 1970s with this Tie-Dye pattern Jack Lenor Larsen velvet, which is in beautiful original condition. We have left the solid brass legs with their original patina that can be easily polished if desired. These make the most wonderful dining or breakfast room benches due to their relatively high seat height. Features the usual incredible Dunbar quality materials and craftsmanship.

Details

  • Condition
    Excellent. Excellent original condition with light wear from age and occasional use. Fabric is clean and undamaged. Solid brass legs (solid/not hollow cast) have no scratches or wear. Frame and foundation are in excellent, serviceable condition. .
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 30 in. x W 62 in. x D 30 in.

    H 76.2 cm x W 157.48 cm x D 76.2 cm

  • Seat height
    17 in. (43.18 cm)
  • Seller location
    San Leandro, CA
  • Reference number
    LU82649897411

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About Edward Wormley (Designer)

As the longtime director of design for the Dunbar furniture company, Edward Wormley was, along with such peers as George Nelson at Herman Miller Inc., and Florence Knoll of Knoll Inc., one of the leading forces in bringing modern design into American homes in the mid 20th century. Not an axiomatic modernist, Wormley deeply appreciated traditional design, and consequently his work has an understated warmth and a timeless quality that sets it apart from other furnishings of the era.

     Wormley was born in rural Illinois and as a teenager took correspondence courses from the New York School of Interior Design. He later attended the Art Institute of Chicago but ran out of money for tuition before he could graduate. Marshall Field hired Wormley in 1930 to design a line of reproduction 18th-century English furniture; the following year he was hired by the Indiana-based Dunbar, where he quickly distinguished himself. It was a good match. Dunbar was an unusual firm: it did not use automated production systems; its pieces were mostly hand-constructed. For his part, Wormley did not use metal as a major component of furniture; he liked craft elements such as caned seatbacks, tambour drawers, or the woven-wood cabinet fronts seen on his Model 5666 sideboard of 1956. He designed two lines for Dunbar each year — one traditional, one modern — until 1944, by which time the contemporary pieces had become the clear best sellers.

     Many of Wormley’s signature pieces are modern interpretations of traditional forms. His 1946 Riemerschmid Chair —an example is in the collection of the Museum of Modern Art — recapitulates a late 19th-century German design. The long, slender finials of his Model 5580 dining chairs are based on those of Louis XVI chairs; his Listen-to-Me Chaise (1948) has a gentle Rococo curve; the “Precedent” line that Wormley designed for Drexel Furniture in 1947 is a simplified, pared-down take on muscular Georgian furniture. But he could invent new forms, as his Magazine Table of 1953, with its bent wood pockets, and his tiered Magazine Tree (1947), both show. And Wormley kept his eye on design currents, creating a series of tables with tops that incorporate tiles and roundels by the great modern ceramicists Otto and Gertrud Natzler. As the items on these pages demonstrate, Edward Wormley conceived of a subdued sort of modernism, designing furniture that fits into any decorating scheme and does not shout for attention.

About the Seller

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Located in San Leandro, CA
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