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Very Rare Model 175-C Sculptured Lounge Armchair by Vladimir Kagan, c 1950s

About the Item

An incredibly rare and highly sought-after Vladimir Kagan Model 175C 'Sculptured Walnut Arm Chair' designed in 1950 (see catalogue photo), this early production example from circa 1950s to early 1960s. This model is very similar to the later designed Model 175E 'Sculptured Walnut Contoured Chair' aka 'The Contour Chair' designed in 1953, however the 175C was the earlier original 'Sculptured' design which led to several other designs in the 'Sculptured' line, and while sharing similarities to the 175-E, the 175-C features the very desirable floating seat not found on later models. This particular model is not an easy one to find, and for Vladimir Kagan collectors this is a highly sought-after piece, for some considered the pièce de résistance. Currently we are awaiting confirmation from The Kagan Group on the approximate year of manufacturing for this particular example, but we believe it to be either from the Kagan-Dreyfuss period in the 1950s when Kagan was partnered with Hugo Dreyfuss, or possibly shortly after in the 1960s. Once we receive confirmation we will update this listing with more information on its history. The current patterned velvet is possibly the original fabric as it has decades of age to it. We decided to keep it as it is quite attractive and still functional. We replaced the interior foam and then lined (applied a backing) to the velvet to strengthen it and it is ready now for immediate and regular daily use. The quintessential curvaceous sculpted arms on this model 175-C Vladimir Kagan lounge armchair is simply exquisite. Coupled with the floating seat, this is one of the most unique and desirable of designs by Vladimir Kagan, and the earliest of his sculptured lines. This Vladimir Kagan Model 175C 'Sculptured Walnut Armchair' would work great in a Mid-Century Modern, Scandanavian Modern or Danish Modern home or penthouse apartment but could also look fantastic in a Contemporary or Post-Modern room. Also consider mixing it up in a Traditional, Transitional, Classical or Art Deco room with a splash of juxtaposition. Would also be an apt choice in a commercial project such as a hotel lobby lounge or members club, creative design studio or high-rise executive office. Consider using as a side chair, cafe or breakfast table chair, bedside chair, fireside chair, dressing or changing room chair, hallway chair, entryway or mudroom chair, nursing or reading chair, conference room chair, office chair, guest chair, lobby chair, lounge chair or occasional chair ideal in virtually any setting. MEASUREMENTS: H 30" x W 25.5" x D 30" Seat Height: 15.5" Seat Depth: 20.75" Arm Height: 22" CONDITION: Walnut frame has been fully refinished and is sturdy and structurally sound. One small area on the rear that may have had a prior minor repair. Interior foam has been replaced and is in good working condition. Velvet fabric has a lot of age to it but we believe the fabric to be original to this chair so we restored it by applying an interior backing to strengthen it and allow the chair to be used regularly. Can be reupholstered or used in its present vintage condition with age appropriate wear. Attractive and presentable, this chair is ready for immediate use in a high end luxury interior. Ideal candidate for collectors and investors of art and modern design.

Creator:
Vladimir Kagan (Designer)
Design:
Contour Low Back Lounge Chair 175EContour Series
Dimensions:
Height: 30 in (76.2 cm)Width: 25.5 in (64.77 cm)Depth: 30 in (76.2 cm)Seat Height: 15.5 in (39.37 cm)
Style:
Mid-Century Modern (Of the Period)
Materials and Techniques:
Fabric,Walnut
Place of Origin:
United States
Period:
1950-1959
Date of Manufacture:
c. 1950s
Condition:
Refinished. Very good vintage condition. Wood frame has been refinished. Foam has been replaced and original fabric has been restored with moderate age and patina. See description for more details.
Seller Location:
Los Angeles, CA
Reference Number:
1stDibs: LU1330229180362
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Vladimir Kagan

The pioneers of modern furniture design in America in the mid-20th century all had their moments of flamboyance: Charles and Ray Eames produced the startling, biomorphic La Chaise; George Nelson’s firm created the Marshmallow sofa; Edward Wormley had his decadent Listen to Me chaise. But no designer of the day steadily offered works with more verve and dynamism than Vladimir Kagan. While others, it seems, designed with suburban households in mind, Kagan aimed to suit the tastes of young, sophisticated city-dwellers. With signature designs that feature sleekly curved frames and others that have dramatic out-thrust legs, Kagan made furniture sexy.

Kagan’s father was a Russian master cabinetmaker who took his family first to Germany (where Vladimir was born) and then to New York in 1938. After studying architecture at Columbia University, Kagan opened a design firm at age 22 and immediately made a splash with his long, low and sinuous Serpentine sofa. Furniture lines such as the Tri-symmetric group of glass-topped, three-legged tables and the vivacious Contours chairs soon followed.

Kagan’s choices of form and materials evolved through subsequent decades, embracing lucite, aluminum and burl-wood veneers. By the late 1960s, Kagan was designing austere, asymmetrical cabinets and his Omnibus group of modular sofas and chairs. For all his aesthetic élan, Kagan said that throughout his career, his touchstone was comfort. “A lot of modern furniture was not comfortable. And so comfort is: form follows function. The function was to make it comfortable,” he once commented. “I created what I called vessels for the human body.”

A diverse group of bodies have made themselves at home with Kagan designs. Among the famous names who commissioned and collected his designs are Marilyn Monroe, Gary Cooper, Andy Warhol, David Lynch, Angelina Jolie and Brad Pitt, and firms such as Gucci and Giorgio Armani. His work is in numerous museum collections, including those of the Victoria & Albert and the Metropolitan Museum of Art.

Because of its idiosyncrasy, Kagan’s work did not lend itself to mass-production. Kagan never signed on with any of the major furniture-making corporations, and examples of his designs are relatively rare. As you will see from the offerings on 1stDibs, even decades after their conception, Kagan pieces still command the eye, with their freshness, energy, sensuality and wit.