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Paul Frankl for Brown-Saltman "Bell" End Tables, a Pair
About
Details
- CreatorBrown Saltman (Maker),Paul Frankl (Designer)
- DimensionsHeight: 23 in. (58.42 cm)Width: 28 in. (71.12 cm)Depth: 16 in. (40.64 cm)
- Sold AsSet of 2
- StyleMid-Century Modern (Of the Period)
- Materials and Techniques
- Place of Origin
- Period
- Date of Manufacture1940s
- ConditionOriginal finish. Discoloration to table top surfaces.
- Seller LocationFulton, CA
- Reference Number1stDibs: LU5539221771332
Shipping & Returns
- ShippingRates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.Ships From: Fulton, CA
- Return Policy
A return for this item may be initiated within 2 days of delivery.
About Paul Frankl (Designer)
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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