Vladimir Kagan Biomorphic Cocktail Table

Restored rattan and mahogany top Biomorphic coffee table with 3-strand rattan legs. Also commonly called an "amoeba" table it features 3 four-strand legs fixed to a biomorphic mahogany top with hand-molded rattan...

Biomorphic rattan coffee table with an amoeba shaped mahogany top, circa 1950. This table features a grouped pole leg design and stick r...

This biomorphic, Mid-Century Modern coffee table features two-tiers embellished with marbleized white Formica surfaces. The table rests on black-painted legs capped with brass foot d...

Biomorphic rattan coffee table with a Biomorphic shaped mahogany top and unique cubby storage underneath, circa 1950. This table features a stacked pole leg design and unique shape R...

Original 1950s Biomorphic coffee table with vertically stacked 3-strand rattan legs with a mahogany wood top wrapped in a rattan trim along the edge. 1950, United States We only pu...

Made by Bruno Mathsson this Large 67" wide Mid-Century Scandinavian Biomorphic coffee table with a speckled paint tabletop finished with custom made chrome wire-spoke legs. Bruno Mat...

Beautiful mid-century walnut and glass biomorphic coffee table designed in the United States, circa 1960s. This coffee table is a true masterpiece inspired by the iconic designs of V...

This iconic design by Vladimir Kagan of his snail coffee table is handmade. Original unaltered walnut Veneer. Sold by Selig. The coffee table base is shown without the glass top. Not...

W50 D27 D24 D27 H15 Post Modern Biomorphic coffee table in the style of Vladimir Kagan. Table features a biomorphic glass top and a serpentine shape...

Designed by George Greenamyer for Vladimir Kagan. Ceramic base measures 14.5"W x 14.5"D x 15.25"H. Signed. From Greenamyer's web site: In 1964 I was one of 5 artists who founded the Pulpit Rock Artists Community in Woodstock, CT, to create studio space for new graduates. I exhibited my ceramic sculpture and I was commissioned to make ceramic furniture by Vladimir Kagan Associates. My teaching career started in 1968. My welding and foundry background was a key factor in my being offered a full-time position and being told to develop a sculpture department. In 1981 I became a full professor. I had the opportunity in the late 80s to design, with my shop technician, a "state of the art" metalworking and foundry facility. My classes were in welding, blacksmithing, foundry and 3D design. I have also taught workshops at Haystack in Maine, Penland in North Carolina and at other colleges. In 2005, I was designated professor emeritus. I still teach one welding class In the early 70s, I switched from ceramic to metal sculpture, which I exhibited where ever I could. In 1976, I completed my first major public art commission for the Massachusetts Bay Transportation Authority. In 1977, I won an Artists Fellowship Grant from the Massachusetts Arts and Humanities Foundation and a Louis Comfort Tiffany Foundation Grant. In 1979 I was a research fellow at the Center of Advanced Visual Arts at MIT to pursue my interest in kinetics. In the early 80s I had a large solo show at the Lopoukhine Gallery in Boston, the Laumeier Sculpture Museum in St. Louis and the Neil Gallery in New York City, where I was represented for 3 years. My sculpture is in the permanent collection of several Massachusetts museums: the Fuller Art Museum, Brockton; the Art Complex Museum, Duxbury; the DeCordova Museum and Sculpture Park, Lincoln and on the campus of Boston University and Massachusetts College of Art and Design. During the mid 80s to early 90s, I did the ice sculpture component of seven ice sculpture/performances in collaboration with other artists at First Night, Boston, and the Laumeier Sculpture Park in St. Louis, MO. In 1995, I was one of 18 artists who created a miniature golf hole for Strokes of Genius and in 2007, one of 12 artists that created sites for model trains called Trainscapes, both at the DeCordova Museum and Sculpture Park in Lincoln, MA. In the mid-80s I made the choice to focus my career efforts on public art commissions obtained through national competitions. Public art commissions allowed me to produce work in a size I could never afford. I liked the challenge of solving the design problems of the site and selecting a narrative that makes sense to the project and the committees. I could incorporate kinetics (sometimes fiber optics) and hired a mechanical and a structural engineer...

Fabulous Radius cocktail table by Vladimir Kagan. Three sided curved walnut slabs connected by a chromed steel spoke. Glass top is 30" diameter. Hgt is 14.5 In excellent vintage cond...

A rare example of the Venetian Mosaic glass boomerang table. An identical table is pictured in the complete Kagan Book, 2004 Branded below- Kag...