Important Eames/Saarinen Modular Case Goods

Two-piece custom cabinet of birch with black-and-white lacquered fronts, designed by Elaine Lustig Cohen (1927-2016) circa 1961 for her own townhouse on the Upper East Side in New Yo...

Tall cabinet of solid and painted wood, with six drawers and two doors, by renowned architect and landscape designer Dan Kiley. Basically, a freestanding built-in from the Charles an...

Storage unit composed of two four-drawer (#9568) chests atop a single “LA” series base with laminated plywood legs. Designed by Clifford Pascoe for Pascoe Industries and produced cir...

Modular nine-drawer "Studio Group" chest composed of walnut with a white micarta top, lacquered masonite drawer bottoms and angle-steel pulls and frame. The “Curtainwall” principle applied to furniture, allowing easy extension in either a vertical or horizontal direction. An elegant riff on the Eames ESU, designed by Norman Cherner (along with Matthew Cooper) and manufactured by the Multiflex Corp circa 1954. The present unit has three banks of three drawers; the full-length angled steel pulls contribute to the overall graphic scheme of contrasting stripes. The Studio Group was featured in George Nelson’s Storage book and was a MoMA Good Design selection in 1954. The frame, which disassembles to a large degree, is held together with brass buttons. Cherner famously designed the narrow-waisted Plycraft armchair along with an award-winning furniture line for Konwiser and was the author of the 1953 book Make Your Own Modern Furniture. Along with a sliding door cabinet and a double-tall unit...

Custom and well-crafted modular sliding-door cabinet produced by Eric R.E. Schuster of the Art and Trade Shop of New York City in the early 1940s. Stylistically related to case goods...

Unit furniture of Philippine mahogany with white Masonite panels consisting of a module with sliding Masonite doors and a double wide module with an open front. Designed by Harvard-educated, Boston-area architect, designer, and urban planner Carl Koch as a corollary to his prefabricated Techbuilt houses and produced in 1955. Koch was a pioneering champion of prefabrication in housing in mid-century America, first with his much-publicized but ill-fated all-steel Lustron houses in the late 1930’s, then with his more successful wooden Tech-Built houses, introduced in 1953. In At Home with Tomorrow, his 1958 paean to prefabrication, he lays out his opposition to the traditional hammer-and-handsaw construction methods that remained dominant even with conceptually modernist structures. His designs generally hewed to a regional brand of modernism rather than orthodox international style, taking into account local topography and climate—his iconic form is an A-frame with a pitched roof, more sensible in New England winters than a flat roof (though there are such Techbuilt designs). The basic Techbuilt formula suggested that modular, industrial production methods of the components combined with knock-down shipping and on-site assembly equalled lower cost and less waste. Variety and individuality could be achieved in how the elements were combined. This underlying philosophy involving modularity, flexibility, and industrial production methods applied to Spacemaking furniture as well, although interestingly enough, the furniture design preceded the architectural application, as Koch (et al) had submitted a version to the 1947 MoMA Low-Cost Furniture Competition (and so these units also preceded the famous 1951 Eames Storage Unit, a conceptually similar idea executed with metal framing). The furniture line began with requests for freestanding wardrobe...

Very Rare modular case pieces conceived by young Charles Eames and Eero Saarinen for the Organic Design Competition at the MoMA. Circa 1940. Produced by Red Lion Furniture Company. ...

This gorgeous multi-level shelving system was designed and manufactured by the Brazilian design icon, Jorge Zalszupin and his company, L’Atelier. When it comes to Zalszupin’s line of modular pieces (Modulados Compiníveis), simplicity and clarity are the main characteristics. Similarly to Danish production, treating the wood with special care was a core concept for Zalszupin. The versatile industrial design of these pieces offers a variety of typologies and combinations of modules that can be creatively combined to satisfy every need and interest. The pieces include drawers as well as diverse consoles with doors that feature locks. These modular pieces made by L’Atelier follow the idea of Louis Sullivan: “form follows functions”, which is exemplified by this piece. The modules are made of the Brazilian wood ‘caviuna’ with a beautiful finish in wood-block collage. The six wooden legs support the units in an understated way, leaving the units to be the main visual pieces. The pieces feature “inverted” handles in pairs, that are distinctive of Zalszupin, and contribute to the elegant and modern look of this shelving system. Condition: In good vintage condition. Wear consistent with age and use. Some modules have some small scratches and marks. Dimensions: 98.42 in W x 15.95 in D x 104.33 in H 250 cm W x 40.5 cm D x 265 cm H About the designer: Jorge Zalszupin was born in Warsaw, Poland, in 1922. He graduated as an architect in Romania in 1945. His importance for Brazilian design has been articulated in several publications so far. In addition to being the owner of the l'Atelier furniture factory of modern furniture, Zalszupin led a unique initiative: he coordinated a team of designers working for four different factories in the same business group, the Forsa Group. Zalszupin immigrated to Brazil in 1949 and after a brief stay in the capital, he settled in São Paulo, a city that was then entering a cycle of great industrial growth and great cultural transformations. In the first half of the 1950s, he opened an architecture office, having José Gugliota as a partner. When he got tired of designing exclusive furniture manufactured for his clients' homes, he decided to join a group of woodworkers and started to produce smaller series. This was how l'Atelier came into being, which eventually began to manufacture office furniture and went from a carpentry shop with handcrafted products to an industry with serial production. The first piece in this series was an armchair nicknamed 'Danish' by employees. It was first created in 1959. In the early 1970s, because of serious financial problems, l'Atelier was sold to a business group. The sale was finalized with Zalszupin's 'pass' as director of product research and development. Thus, Zalszupin expanded the team of designers - which already had Oswaldo Mellone - incorporating Paulo Jorge Pedreira and Lílian Weimberg permanently. The designers named the new group Forsa, and started to act as a sort of creative laboratory. The technical possibilities offered by four distinct industrial plants were enhanced by the team of designers. In this way, Hevea, which produced plastic commodities, won a very sophisticated product line in design and established a brand: Eva, for household items, sold in supermarkets. L'Atelier itself started using injected plastic, producing partition panels...

An important Louis XVI transitional French Marquetry and gilt bronze mounted 18th century commode after Roussel This exceptional oak frame commode is presented with the original brêche d'alep marble-top above a breakfront frieze set over 3 drawers. The central marquetry panel of a typical 18th century French rural landscape set out in tropical wood veneer. The apron and uppermost drawer mounted with finely cast swag, entwined rings...

Glass showcase, designed by Omann Junior in rosewood of Danish design manufactured at Omann Junior's Møbelfabrik from the 1960s. Consisting of lower part ...

Vintage Palaset Palanox modular storage box set of 6, White, Yellow, Finland, 1972 Palaset Palanox, multicolored stackable boxes that allow you to b...

Vintage Palaset modular storage box set of 4 Scandinavian Modern, Finland, 1972-1973, green and white. Palaset Palanox, multicolored stackable boxes th...