Design History

Lane Mosaic Collection: Not Brutalist Style

Lane Mosaic

First of all, I don’t believe the Lane Mosaic Collection represents Brutalist style. Let me explain why. Actually, it’ll take 2 posts to go through my reasoning.

I’ve tried — diligently — to bring you primary sources on the Lane Mosaic collection. Even the Library of Congress in Washington, D.C., for example, couldn’t help me find original catalogs and advertisements. My next option, after all that, involves heading to our main library and slogging through microfiche.

Lane Mosaic Collection

Therefore, let’s just plunge in and examine our pieces of the Lane Mosaic collection on display at Avonlea Antiques & Interiors:

Lane brutalist

Lovely. I see warm blocks of wood arranged like tiles across wooden surfaces. The collection’s name fits perfectly: Mosaic. The warmth of the wood, lively grain, and geometric design contribute to the hipness and edginess of the 1970s, but without being too weird for the family home.

Lane Furniture Mosaic Collection

Lane mass produced its furniture for middle-class families. The company, above all, never intended to alienate its core market by producing anything too avant-garde.

Lane Mosaic Dresser

Lane manufactured three collections in the 1970s that I group together: their Lane Mosaic Collection, Staccato, and Pueblo. Staccato’s design looks similar to Mosaic. As Lane’s advertisement proclaimed, Staccato represented “a very today design.”

Lane Staccato Furniture 1974 Ad
Lane Staccato Furniture 1974 Ad. Source

The Pueblo collection, on the other hand, reminds me of Mexico’s pre-Columbian roots. Take a look at this Aztec calendar stone. The bas-relief carving contains a variety of geometric shapes:

Aztec calendar stone
Aztec Calendar Stone. Source.

Now the ad for the Pueblo collection:

Lane Pueblo Furniture Ad
Lane Pueblo Furniture Ad. Source.

Finally, a closeup view showing the details. Is it modern art, as the advertisement suggests? Or does the design suggest pre-Columbian indigenous art?

Lane Pueblo Dresser
Lane Pueblo Dresser. Source.

Brutalist Architecture

Frequently this furniture style is called Brutalist, but I disagree. Especially when applied to a pleasing-the-masses company like Lane Furniture.

I understand how Brutalism applies to architecture. Le Corbousier, of course, gets credit for coining the term bréton brut or raw concrete for the style that flourished — architecturally — from the early 1950s to mid-70s.

Concrete served as the primary material for these buildings, usually educational and governmental, because of its comparative cheapness.

Adjectives describing concrete brutalist architecture include blocky, cold, monolithic, monumental, raw, unadorned, and utilitarian.

The style, however, was intended to foster egalitarianism and utilitarianism. Architects pursued a democratic aesthetic. 

Examples of Brutalism

The Geisel Library at the University of California San Diego, for example, looks like an alien spacecraft. Made of concrete and glass, it appears massive. It seems capable, however, of levitation. Its piers soar upward, like the dreams of those using this library.

Brutalist architecture
Geisel Library, University of California San Diego. It is named in honor of Audrey and Theodor Seuss Geisel, better known as Dr. Seuss. Source.

The Barbican Estate rose from the ashes when Luftwaffe bombs demolished 35 acres of London in 1940. Today, with its blocks, towers, terraces and columns, the Barbican combines theaters, performing arts venues, and 3 of the city’s tallest residential towers. This phoenix was designed to realize the utopian dream of high-density urban living amid restaurants, shops, schools and entertainment.

Brutalist architecture
Barbican Centre, London. Source.

Architects Kallmann, McKinnell, and Knowles, winners of Boston’s City Hall design competition, envisioned a democratic structure.

The whole thing was conceived with that sense of openness and aspiration to be very public, to be grand, to represent the civic realm. 

Mark Pasnik, architecture professor at Wentworth Institute of Technology and co-author of Heroic: Concrete Architecture and the New Boston (2015)
Brutalist architecture
Boston City Hall. Source.

Brutalist detractors, to be sure, argued the style is too austere, too imposing, too soulless. At the far end of the spectrum, depressing Soviet concrete apartments also represent Brutalism. No star architect designed this block, although the building serves its purpose: humble, simple, functional abodes for the masses.

soviet concrete apartments
Soviet Concrete Apartment, Halichnaya Street, St. Petersburg. Source.

Be Selective When You Judge

I concur with Michael Kubo, architect, architectural historian, and co-author of Heroic: Concrete Architecture and the New Boston (2015), who asserted:

There’s a tendency to condemn the entire period based on its worst examples . . . People point to all of the second- or third-rate, relatively cheaply built buildings in concrete . . . as a way of condemning the best buildings. Source.

Some Brutalist buildings, now 50 years old, show cracks and deterioration. They need rethinking. Uninspired buildings, for instance, can be torn down and replaced with more contemporary styles. But other more appealing Brutalist works can be repaired and enlivened. Some Brutalist buildings are transitioning into friendlier facades.

Boston’s City Hall added lights!

Boston City Hall Illuminated

Part 2 Preview

Designer Paul Evans sometimes receives credit for creating Lane’s Mosaic, Staccato and/or Pueblo collections. I can’t, however, find anything to verify that. . . 

Further, is it possible to come with a name for furniture that doesn’t involve the term Brutalist?

Until next time,

Ann Marie and David

Wall Art Adds Emotion, Color and Vitality To Rooms

Wall Art

Wall art adds emotion, color and vitality to rooms. If you’re wondering what to do about your bare spaces, don’t be timid about choosing wall art, especially large pieces.

Our booth at Avonlea Antiques & Interiors features mainly Mid-Century Modern (MCM) decor, but I want to show you how art from any period can enliven your space.

First of all, choose a piece that brings you joy. It’s perfectly acceptable to pause in front of your art while passing through a room, or sit on a chair and look into it, even for a minute. Art helps give you balance in your life.

An easy way not to become desensitized to your art is to move your pieces around. That way you can make new discoveries each time you look.

So, let’s see what speaks to you in terms of emotion, color and vitality with images currently in our booth.

Color Study: Squares with Concentric Circles

Wall art

Wassily Kandinsky created his original study, hardly bigger than a sheet of copy paper, in 1913.  He applied washes of watercolor in concentric rings and used it as a reference to study the interaction of colors. Ironically, his small reference became his most famous work. Kandinsky believed colors evoke feelings and affect your mood. Of course, the red and yellow double mats of this poster enhance the energy of the vivid colors.

If you want to know more about Kandinsky, check out this video:

Aperitif in A Studio

Step into this cozy artist’s studio. How bohemian! Join the ladies taking a break in the  cramped surroundings, sipping aperitifs and nibbling sweetbreads. They huddle around a small table as an artist’s assistant pours the aperitifs. While this visually looks like an intimate group, notice they aren’t interacting. Perhaps it’s simply a work break.

The woman on the right, clad in black down to her shiny silk stockings, studies a portrait. Another woman turns away. The artist features one model by placing her near the center, clothing her in an undergarment, highlighting the whiteness of her breasts, and giving her red hair.

Wall art

Contemporary Brazilian-born artist Juarez Machado’s (1941 –   ) style reminds me of the Expressionists of the late 19th and early 20th century. The Expressionists sought to convey emotion rather than physical reality. I believe there’s much to study — to feel — in Machado’s Apertif.

Kyst (Coast)

The more I learned about this Danish art poster, the more I liked it. A 1996 exhibit combined the works of a photographer, poet, and artist. They focused on the Danish coast between Roskilde to Køge Bay. Perhaps the three gentlemen had received a cultural grant from the Danish government to interweave nature and culture.

wall art

Look at how different the mood is between the painting’s churning water, and the lone boat in the black-and-white photo. As for interpreting a line of Danish poetry in cursive, I’m not going there. But add in the huge amount of white space, this poster looks so clean, so Scandinavian. It’s a lovely wall art poster.

Still Life

wall art
We found this painting at an estate sale. I suspect the artist had lived in the house and, alas, there’s no visible signature. The first thing you see is the artist’s impasto technique, whereby he or she heavily layered the paint so that it shows visible brushwork and cuts of the palette knife.

Still Life Impasto Unknown Artist

The paint — its texture and colors — draws your eyes along the canvas. The color choices are interesting, with the red cherries lusciously bursting on a plate. The blue bottle lands slightly behind the white pot which reflects the colors around it.

Juxtaposition of  the highly ornate frame with the modern image creates an interesting, not necessarily harmonic, contrast.

Contratto Advertisement

Self-taught artist Leonetto Cappiello, called the Father of Modern Advertising, created this advertisement for Contratto Liqueur in 1922. In that period, merchants paid artists to create a single image — vibrant and colorful — to sell their wares.

One of Cappiello’s best known ads, this Contratto poster features a lovely woman easily supporting an oversized glass of bubbly Contratto. There’s movement everywhere: the flowing champagne, her swirling floral skirt, and the gauzy fabric of her barely-there top floating behind her.

wall art

As for color, it bursts forth. Her blue hair, golden champagne, white froth, red top, olive skirt with yellow flowers pop out against the black background. What emotions do you feel? I find her joy contagious.

Wall Art and Frames

You can find art at estate sales, garage sales, thrift stores, flea markets, Craigslist, on sale at online poster sites, friends moving to another city — everywhere. Also, I hoard interesting frames so that I have choices. David picked up 2 large frames at the end of an estate sale for $2.50 each.


So, what are you waiting for? Just look for art that speaks to you. Because frankly, you deserve it.

Until next time,

Ann Marie and David

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Dressing Downton at the Lightner Museum

We spent an afternoon with our old friends the Crawley Family of Downton Abbey. That is to say, we visited the Dressing Downton exhibit during its final days. Our earlier plans kept getting thwarted, so I’m delighted we managed a visit before they turned out the lights.

The Lightner Museum of St. Augustine hosted Dressing Downton, Changing Fashions for Changing Times. The museum spent two years curating their stored pieces to create period vignettes highlighting 36 costumes from the Downton Abbey series.

Museum staff did a fabulous job creating eras that spanned pre-WWI to the Roaring 20s. My phone photos don’t do justice to the elegant displays.

Cora Crawley, Lady Grantham

American by birth — and stylish — Cora donned this stylish Edwardian silk day dress, complete with black frogging in Season 1. Her broadbrim hat delicately froths with ribbon, netting and flowers. Lord Grantham, meanwhile, sports a white linen suit appropriate for warm weather.
Dressing DowntownMoving into the 1920s, Cora remains chic despite her conservative apparel. The  seamstresses of the television series built this silk evening dress around the front panel laden with beads and jewels. The pannier sides deliberately exaggerate the hips. What woman doesn’t want that?
Dressing Downton

Astonishingly, the jacket below was originally sewn from an embroidered tablecloth dating from the 1920s. Lady Grantham wore the outfit to Edith’s wedding.
Dressing Downtown

Violet, The Dowager Countess

Violet’s two-piece day dress reflects Edwardian fashion. She would have worn an S-bend corset to accentuate her chest and push out her bottom. The purple color signals she’s emerging from black mourning clothes following the death of relations on the Titanic.
Dressing Downton

Lady Mary Crawley

Lady Mary modeled sensational outfits throughout the series. Obviously, I didn’t take this photo of her in the dramatic red silk evening dress that conveys Mary’s confidence. My photo doesn’t do the dress justice. She wore this gown in Season One (1913), at dinner with the Turkish diplomat.

Lady Mary evening dress

Mary, dressed in this riding habit, arrived on her steed when she first met Matthew at Crawley House. Way to intimidate!

Lady Mary riding habits

Another frock from Season 1, when Lady Mary wore this green silk evening dress with black net overlay and black and silver starbursts. She chose it for Matthew’s first dinner with the family. In the background, center, stands maid Anna’s functional black cotton dress with white lace trim, covered by a white cotton apron.

Lady Mary evening dress

World War I ushered in utilitarian fashion for the ladies and military uniforms for the gentlemen. Lady Mary’s outfit below includes a crepe skirt and satin scoop-neck blouse. The blouse’s front panel and cuffs incorporate original floral chiffon fabric.
Lady Mary WWI

Yet even during wartime, Lady Mary proved resourceful. She wore this dusty-pink silk evening dress with black net overlay for Sir Richard Carlisle’s first dinner at Downton Abbey. It drips with beads and sensuality.

Lady Mary evening dress 2

Lady Sybil Crawley

Lady Sybil’s velvet maternity dress appeared  in a nursery setting. The neutral velvet, at times grayish green, is enhanced by gold embroidered borders.
Sybil maternity dressI learned that this formal cradle would be used to present baby to guests in the parlor rooms. I expect the nanny would hover and whisk baby away when the viewing ended.

Lightner Museum bassinet

Dressing Downton No More

Dressing Downton at the Lightner Museum has closed. In fact, St. Augustine marked the final leg of its American travels. Enthusiasts shouldn’t despair because the new Downton Abbey: The Exhibition, now in New York City, will travel to other cities. Have a look:

Thanks for stopping by.

Ann Marie & David


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Drexel Profile Dining Set: Back to the Future

Autumn offered the perfect time to move the Drexel Profile dining set into our booth at Avonlea Antiques and Design Gallery. Families planning a holiday gathering may discover they need a larger, more stylish table. And this is quite the set.
Drexel Profile Dining Table 1956

Estate Sale Acquisition

While scouring ads for our next lead, David and I stumbled across a promising find. An estate sale company had posted photos promoting their upcoming sale, and it looked right up our alley. This dining set had two things going for it: it was manufactured by Drexel and  is an impeccable example of Mid-Century Modern in design. The upholstery on the handsome spindle-back chairs appeared to be in excellent condition — and better still, possibly original.

Here’s a photo of the set at the estate sale. In person, the dining set proved even more impressive than hoped. I was floored (and more than a bit miffed) to see this heavy metal container on the bare wood!
Drexel Profile dining set

Estate sale prices are highest on the first day, yet David and I ventured out expressly for that dining set. While I flipped a few of the chairs over, David got down on his back and wriggled under the table to confirm its Drexel heritage. We bought the table, 6 chairs, and 3 leaves. A bit pricy, but what a fabulous design!

When David and our son Michael drove back to pick up the set, David decided to purchase the matching Drexel Profile buffet. Altogether, we made a significant investment in these pieces.

Designer John van Koert (1912 – 1998)

Stymied by my research efforts, I asked librarians in Florida and North Carolina for help with the elusive van Koert. We kept returning to his New York Times obituary, the most informative. During his career, Van Koert designed jewelry for Harry Winston, flatware for Towle Silversmiths, furniture for Drexel and later, Serried Ltd. in North Carolina. He died at the age of 86 in 1998.

Post-World War II modernist design, especially Scandinavian, appealed to van Koert. He served as director of the “Design in Scandinavia” exhibition that traveled through the U.S. and Canada between 1954-57. Brimming with more than 700 objects used daily, the exhibit featured items by Danish, Finnish, Norwegian and Swedish designers.

Design in Scandinavia exhibition
By Brooklyn Museum (Brooklyn Museum) [No restrictions], via Wikimedia Commons
The show promoted Scandinavian design, a term synonymous with

beautiful, simple, clean designs, inspired by nature and the northern climate, accessible and available to all, with an emphasis on enjoying the domestic environment. Source

Towle Contour

A few years earlier, the president of Towle Silversmiths, looking to branch out into this new, modern direction, hired van Koert as head designer about 1949. Under van Koert’s leadership, Robert J. King designed the Contour pattern for American sophisticates appreciative of the contemporary aesthetic. The flatware debuted in 1951, with beverage service appearing in December 1953.

Towle Contour Flatware
Towle Contour Sterling Silver Flatware. Source

Towle Contour beverage set
Towle Silversmiths
Newburyport, MA, active 1882 – present
Robert J. King, American, born 1917
John Van Koert, American, 1912 – 1998
Contour beverage set, 1953 (designed 1951-52)
Silver and polystyrene

The Drexel Profile collection marked van Koert’s first foray into furniture design and Drexel touted his experience in modern design.

The distinctive style of Profile reflects John Van Koert’s work in the silver industry. “Contour,” the notable sterling flatware pattern designed for the Towle Silversmiths, has much the same sculptural feeling in its modeling. Contour met with instantaneous success and in a very few years has become the classic among modern flatware patterns in the United States. Drexel Profile catalog, c. 1956, p. 7.

Drexel Profile: Age, Style and Wood

Drexel manufactured the Profile collection between 1955 and 1961. Our set dates from  1956. Profile information comes from its catalog with this cover, which I’m estimating around 1956:
Drexel Profile catalog c 1956 cover

There are no abrupt angles in Profile. Tapered legs curve gracefully into the tops of tables and backs of chairs. The sculptured look is emphasized in case pieces by a gentle curve that joins the case at the top, the latter extending slightly outward both in the front and back.  Drexel Profile Catalog, c. 1956

Walnut and pecan wood form the basis of Drexel’s Profile collection. The catalog claims Drexel used the “finest walnut” on the larger pieces, such as the table and buffet. The chairs are a combination of pecan wood with walnut veneer.

Drexel produced three styles of Profile dining chairs: the spindle back, a panel back, and an upholstered back. I’ve been told the spindle back is the most desirable.
Drexel Profile Dining Chair

This page from the catalog shows our dining table and chairs:Drexel Profile catalog c. 1956

The dining table conveys an aerodynamic sensibility, very typical of an era celebrating fast cars and jets. I love the flared legs stretching out from table and chairs — very dramatic. Also, the tabletop’s two outer lines visually lengthen it. Once the 3 leaves are added, this table goes on to infinity.
Drexel Profile dining table

Drexel Profile Buffet

Although the Drexel Profile buffet’s shorter legs attempt to replicate the flare, its silver hardware and swooping lines pack the real punch. Here’s a photo on the day David and Michael retrieved the set:
Drexel Profile Buffet

A better view, I think, of the swooping lines of the upper buffet. The swoops appear not only in the front, but in a modified version at the back as well.
Drexel Profile Dining Set

As for the hardware, the Drexel Profile catalog (c. 1956) reads:

The flowing silver plated hardware, as elegant as fine sterling, especially reflects Van Koert’s work in silver design.

Drexel Profile dining setDrexel Profile dining set

All in all, this is a gorgeous set. When we first brought it into the booth, a customer asked if we would sell him the table only. We declined. Let’s try to keep this set together a bit longer.

Ann Marie and David


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Heywood-Wakefield Miami Bedroom Set

We didn’t know with certainty that Michael had found a Heywood-Wakefield Miami bedroom set on Craigslist. Even when David and I examined it, we suspected but couldn’t confirm that Heywood-Wakefield manufactured it. No labels or logos — except for the refinisher.
Furness's Refinishing label
And the wood didn’t have an authentic Heywood-Wakefield finish:
Heywood-Wakefield Miami nightstand
We bought the set from a television production assistant who acquires props for television shows. Is that cool or what? I don’t know where or if this set appeared on TV, but  we found it sitting in his garage. We toted off the vanity, chest, nightstand, headboard and footboard. And a vanity seat that doesn’t match.

When we arrived home, David pulled out his Heywood-Wakefield books and verified the heritage. The original pieces came in Champagne or Wheat finishes but our refinished bedroom set appears to sport a medium-to-dark walnut finish. However, there are areas where the original birch’s golden hue bleeds through the darker walnut color.

Heywood-Wakefield Miami Bedroom Set

Heywood-Wakefield manufactured the Miami bedroom collection for a very short period, between 1941-42, as part of their Streamline Modern furniture line. This popular series became notable for the curved front design.

The Niagara collection, which we do not posses, shows an more extreme example of the bowed front and curved drawers, achieved by steaming and bending solid wood. Leo Jiranek designed both the Niagara and Miami collections.

Heywood-Wakefield Niagara Vanity

Jiranek’s Heywood-Wakefield Miami bedroom set presents a boxier shape than the curvy, sexy Niagara. Yet the gently curved edges convey graceful lines, pleasing proportions, and high utility.

This next photo shows a Miami vanity with an original finish. The matching seat is authentic Heywood-Wakefield. Alas, we own neither this vanity nor stool. I want that stool. Our vanity matches the vanity shape but has a darker brown color. Isn’t that mirror fabulous? Bakelite clips hold the mirror in place.

Heywood-Wakefield Miami Vanity
Heywood-Wakefield Miami Collection Vanity, 1942-41. Source

David’s Woodworking Heroics

In generally good condition, the Heywood-Wakefield Miami bedroom set still needed work. David conducted an inventory of what he had to do. Our next blog post will detail how he improved the worn finish and sticky drawers.

  1. Remove random paint splotches — a cautionary tale to those who paint near furniture. 
    Heywood-Wakefield damge2. 
     Remove top surface paint and blend scratches.
    Heywood-Wakefield damage

    3. Sand all the drawer interiors to remove crud. Here’s an aerial view of the bottom of the nightstand’s top drawer. We’re looking at cigarette burns and unknown spills.
    Heywood-Wakefield damage
    To repeat, David sanded all the drawers. This next photo shows the nightstand’s bottom drawer space. Did a family of dirty pixies live in there? Anyway, once David  finished his sanding, I applied shellac.
    Heywood-Wakefield damage4. Adjust drawers for smooth sliding.
    Heywood-Wakefield damage
    Heywood-Wakefield damage

Finished Products

David staged this photo of the full/queen bed frame on the front lawn right after he finished it,
Heywood-Wakefield Miami Full Bedrameand the nightstand with the lower drawer that drops down. That bottom drawer, once filthy and inhabited by pixies, reveals a much improved interior:
Heywood-Wakefield Miami nightstand
David and Michael moved the Heywood-Wakefield Miami bedroom set — the chest, vanity, full/queen bed frame, and nightstand — into our booth at Avonlea Antiques and Design Gallery.
Heywood-Wakefield Miami Chest
Heywood-Wakefield Miami vanity
Heywood-Wakefield Miami bedroom set

Heywood-Wakefield and WWII

The U.S. entrance into World War II in 1941 reshaped Heywood-Wakefield’s production and ended the Miami line. In 1943 the company published a brochure to explain its wartime effort of “a grim, strange cargo” at the expense of “complete and harmoniously designed furniture packages,” Source for this and following quotes, p. 29.

Taking a patriotic stance, Heywood-Wakefield explained their conversion to their customers: “like ourselves . . . [our customers] wish we could serve them better; but they prefer that Heywood-Wakefield ‘serve our country best.'”

Instead of furniture, their Gardner, MA, factory shifted into producing bomb nose fuzes, ack-ack projectiles, gun stocks, saw and pickaxe handles, and barracks chairs. Ready Room chairs, a combo of Heywood-Wakefield’s reclining bus seat, a school room writing desk, and a personal locker, were churned out for U.S. Navy aircraft carriers. Practice shells helped train soldiers on five-inch guns, and field hospital stretchers carried the wounded.

Heywood-Wakefield US military bunk beds WWII
U.S. Military Bunk Beds, WWII. Made by Heywood-Wakefield. Source

With steel tubing unavailable for beds, Heywood-Wakefield converted its bentwood into ambulance beds. Their brochure states:

Yes, we can make wood ambulance beds in a furniture factory with comparative ease . . . but, please God, grant that we or any other manufacturer may be called upon to produce as few as possible for our boys and those of our allies. p. 30.

Leo “Jerry” Jiranek

A quick word about the designer, Princeton-educated Jerry Jiranek. He began his association with Heywood-Wakefield around 1935 as a freelancer. For 67 years he designed for companies Bassett, Broyhill, Ethan Allen, Heywood-Wakefield, Garrison, Kroehler, Lane, Thomasville, Along the way he acquired the title “Dean of Furniture Designers.” In the mid-1960s he established the Jiranek School of Furniture Design and Technology in NYC to educate people in the furniture industry.

Heywood-Wakefield — A Timeless Love

A woman visited our booth today, looked at the set, and said, “That’s Heywood-Wakefield, isn’t it?” As a young college graduate many years earlier, she had fallen in love with the design. She’s now a grandmother getting ready to downsize, but she still loves Heywood-Wakefield. Always beautiful, always timeless.

Come back for our next post to see how David worked his magic.

Ann Marie and David

Read details on how David repaired this bedroom set.

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Can You Name My White Fine Furniture Collection?

White Fine Furniture Collection

Can you name my White Fine Furniture collection? And what’s its value?

Since I started writing posts about White Furniture Company of Mebane, NC, I’ve receive lots of questions about style numbers belonging to a White Fine Furniture collection, and estimated values.

I addressed strategies for determining the value in your local market here:

As for an individual White Fine Furniture Collection, I can now identify five — out of who knows how many? My understanding is that White Furniture destroyed their patterns when the company closed in 1993. But catalogs could be out there; I just need to track them down.

The University of North Carolina at Chapel Hill houses the catalogs of the five collections presented here. For the price of copies, UNC sent me an electronic file. It’s a start..

Living With Tradition

This collection came in a choice of two finishes: Chantilly and Antique White.

Chantilly finished products had solid cherry drawers, posts, and rails. Its tops and end panels were made of “choicest walnut veneers.” (Living With Tradition Catalog, 1982)
White Fine Furniture of Megan

White Fine Furniture Mebane
Living With Tradition Bombé Chest, 225-34-11-F

The Antique White finish offered two handpainted artwork choices: Chinese landscape painting or Floral, shown above. The Floral design depended on the customer’s selection of color for the trim: yellow, blue, green, or gold. Raised Gesso Chinoiserie, seen on the Chantilly finish, provided another choice. Obviously, no two looked exactly alike.


To bring you furniture with a new feeling of grandeur and graciousness, the Whiteleigh combines the elegance of Empire with the classic grace of Regency. Both were the “modern” styles of their day. The rare and valuable pieces which have come down to us reflect a simplicity, quality, and vitality that blends perfectly with White’s own brilliant concepts of Contemporary styling.  (Whiteleigh catalog, White, the South’s Oldest Makers of Fine Furniture, Mebane, North Caroling, no date, p. 2).

White Furniture Company Mebane NC

White used two exotic woods to create Whiteleigh:

All solid parts are African Teak, one of the finest Mahogany-family cabinet woods, very light in color, and imported from the famous African Gold Coast. All veneered tops, drawer and door fronts are richly figured Prima Vera from Central America, are also light in color. Both woods have “open pores” as opposed to the “closed pores” of woods such as Cherry. (Whiteleigh catalog, White, the South’s Oldest Makers of Fine Furniture, Mebane, North Caroling, no date, p. 27).

The Lorraine French Provincial Collection

Three custom hand finishes . . . Old Spice, a rich fruitwood; Old Bisque, a delightful dominance of brown with gray shadings; and Old Bone, the ever loved and ever lovely white and gold.” (The Lorraine French Provincial Collection catalog, White, the South’s Oldest Makers of Fine Furniture, Mebane, North Caroling, no date, p. 3).

White Furniture of Mebane NC

Every fascinating facet of French Provincial charm scintillates in White Lorraine Collection . . . free hand carving, decorative brass grilles, dainty scroll feet, graceful cabriole legs, hooded pediments, parquetry inlay, delicate gold etching, sweeping escalloped curves and aprons, carved corner posts and end panels–a wealth of fine detailing and a beauty that never palls. Age can but enhance its charm and value. (Lorraine catalog, no date, p. 15).

Unfortunately, that last sentence — written decades ago — could not take into consideration a  future with mass production, cheaper furniture, and very little wood composition. Look how comfortable people have become with the idea of replacing sofas, chairs, dining sets every few years.

This next bedroom set image doesn’t come from a catalog. I found this Lorraine White Fine Furniture Collection advertisement online hereImportantly, this ad has a date: 1954.
White Fine Furniture Collection


In many ways this is a collector’s collection. No two pieces are identical. Each is a custom-designed Original. There is no rigid adherence to any one genre of design. But rather a general echoing of those Country English and traditional Mediterranean styles so compatible with today’s decorating trends. (Adaptique catalog, White, the South’s Oldest Makers of Fine Furniture, Mebane, North Caroling, no date, p. intro).

As best as I can determine, this collection offered multiple features within a piece and multiple choices of said piece. This buffet (Style 30-7, I believe), for instance, is primarily Early English but incorporates Mediterranean/Greek dentil molding, along with the Greek key motif on fronts of drawers and doors. But Tudor roses appear on the doors instead of a true Greek key.

White Fine Furniture Collection
White Furniture Co. Adaptique Collection

Then we get into the various styles of Adaptique furniture: 3 choices of buffets and 3 of china tops, as shown here:
White Furniture Company Adaptique
Adaptique came in two finishes: Artisan, a warm, rich brown; and Florentine, a Venetian grey-green.


The undated Promethean catalog claims this style mixes “Oriental glamour with Old World charm.” To my thinking, the Old World must refer to Scandinavia because this collection has a Mid-Century Modern sensibility.
White Furniture of Mebane Promethean
Here’s the catalog explanation of the woods’ drama:

This whole collection is marked by the use of pearly pink Maple Burl, the taupe richness of brown Walnut, and the tone-on-tone color of highly figured heart Walnut.

Thanks to everyone who sent me emails and comments about the pieces in their White Fine Furniture collection. If your collection isn’t featured here, just know that I’m on the trail and will share more when I uncover new information.

Ann Marie and David

Read my other White Furniture Company posts:

White Furniture Company of Mebane, NC, Part 1

White Furniture Company of Mebane, NC, Part 2

How Much is My White Fine Furniture Worth?

Clothes Press by White Furniture Company, Mebane, NC

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1930s Heywood-Wakefield Living Room Set

1930s Heywood-Wakefield

Romantic Acquisition

A man once posited that time is a flat circle. Against all odds, we rescued the one-of-a-kind 1930s Heywood-Wakefield living room set . . . again.

Two years ago, a woman invited David and me into her home to purchase her mother’s living room set. We wrote about that amazing acquisition here.

1930s Heywood-Wakefield
The seller informed us that her mother, the original owner, insisted it was 1930s Heywood-Wakefield. But the pieces are not listed in the official Hey-Wake bibles, Heywood-Wakefield by Harris Gertz (2001); Heywood-Wakefield Modern Furniture by Steve Rouland & Roger Rouland (1995). Purists disagree with the original owner’s opinion, but more on that below.

The story of our seller’s parents’ acquisition of the set is a touching tale of love, longing and the power of retail therapy:

The Seller’s parents, as newlyweds in 1933, lived in New Smyrna Beach, Florida. A friend’s furniture store stood just down the street. One day Mother caught sight of this freshly arrived set of modern furniture. Enchantment pulled her closer. When her husband came home from work later that afternoon, Mother gushed to him about this magical apparition. They went window shopping that evening. Dad didn’t say anything.

The next day Mother, in the back of the house, heard noises out front. She opened the door to encounter furniture delivery men unloading her new living room set. Her husband made a huge, romantic gesture for their first anniversary.

The furniture stayed with the family all these decades. Actually, it has resided in the granddaughter’s home for the last several years, ever since Grandma’s death. As Buyers, we understood the emotional connection with the pieces. I don’t know how the Seller selected us, but they entrusted a part of their family it into our care.

Identity Confirmed

Fast forward to last week, as I scrolled through a multitude of estate sales online. Foolishly, I failed to recognize them, but had the presence of mind to show these photos to my son. Michael, who had bonded with the set while it languished in our booth (and whom I suspect schemed to keep them for himself) espied them. “That’s our furniture!” Sure enough, he was right.
Lloyds Mfg Pre Heywood Wakefield

Lloyd's Mfg Pre Heywood-Wakefield

Stewards of History

For the few months we had owned the set, we displayed it in our booth at Avonlea Antiques and Design Gallery, along with a statement that we would not break up the set. While we could make far more money selling the pieces individually, we felt an obligation to be good stewards. Maybe there’s a bit of romanticism in all of us.
1930s Heywood-Wakefield

But an unsettlingly undercurrent vibrated. The furniture spoke to Michael. Should he acquire them at a steep discount for his apartment?

The New Owner

Working at the Antique mall, Michael spent weeks eyeing the set. He claims the day he decided to keep the pieces, a woman strolled in and enthusiastically bought them. The next day she returned with a friend. They bought two glasses of wine at the in-house cafe, wandered over to our booth, sat on the new furniture, and toasted good fortune. Sorry, Michael.

Estate Sale Heartbreak . . .

Back to last week: After Michael confirmed the set’s identity I checked the details of the estate sale company selling it. A sign-up sheet would go up at 4 pm the day before the sale. David and I showed up ahead of time. A neighbor assured us the new owner loved her 1930s Heywood-Wakefield set, now in the sunroom. But she had moved and couldn’t take all her furniture with her.

At four o’clock I knocked on the door. The estate sale rep wrote our names on line #1. We’d return for the 9 am opening. That night we discussed our budget, knowing how much we spent the last time and how much the set sold for.

The next morning, the first to cross the threshold, we zoomed to the sunroom. We absolutely didn’t want to see the pieces priced individually. That scenario would drive a stake through our hearts because we took such care to ensure that the collection stayed together.

On the drive over, David told me of his dream the previous night. In mute horror, he walked into a room and saw the pieces priced individually. Buyers surged past, indifferent hands grabbing them piecemeal. In his dream he cried out in anguish.
Heywood-Wakefield Heywood-Wakefield
Sadly, our worst fears were confirmed. Each piece sported a price tag. The total price  exceeded our budget. Sure, they’d be discounted by 30% on Day 2, and a whopping 50% on Day 3. But we knew they wouldn’t remain a complete set very long.

We approached the estate sale rep and offered our story, explaining how hard we tried to keep the set together. Then David had an inspired thought. Could the rep telephone the owner and explain that the people she bought the set from wanted to buy it back? And we made an offer — it was a very long shot. We would hear the answer later in the day.

. . . and Joy

She agreed!

Once David and Michael loaded the set in our trailer, I asked if we should drop it off at our booth immediately.


Michael regards this as an intervention. What are the odds that we’d acquire this set — twice? Maybe this time he will keep it.

1930s Heywood-Wakefield or Lloyd?

When I researched the furniture two years ago, I noted that the Lloyd Manufacturing Company of Michigan, acquired by Heywood-Wakefield in 1921, made the set.

Here’s what we know:

  • In the 1920s Heywood-Wakefield was known as the country’s largest chair manufacturer and baby carriage builder.
  • Toward the end of the decade, Hey-Wake wanted and needed to diversify. Well made, affordable, mass-produced furniture seemed a good bet.
  • Heywood-Wakefield hired Gilbert Rohde and assigned the task of designing a modern line. Hey-Wake introduced Rohde Contemporary Furniture in 1931. The set below looks like a precursor to the more recognizable Heywood-Wakefield furniture.

Heywood-Wakefield Gilbert Rohde
“A group of Gilbert Rohde’s designs for Heywood-Wakefield in 1931”, Heywood-Wakefield Modern Furniture by Steve Rouland & Roger Rouland, 1995, p. 19.

  • Heywood-Wakefield debuted their modern line at Chicago’s Century of Progress in 1933-34
  • The 2 Heywood-Wakefield bibles, mentioned above, both identify the solid blond maple and birch furniture manufactured from 1936 to 1966.


That means there’s a gap in identifying 1930s Heywood-Wakefield furniture produced during 1931 and 1936. Could this set come from that period? After all my effort, I’m going to vote yes.

As for Michael winding up with the set, well, check back soon and see what happens.

Ann Marie and David

For another post on our trip to oblivion to pick up a Heywood-Wakefield bedroom set, now  in storage, go here.

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Tiptoe Through Tulips: Eero Saarinen Pedestal Collection

Knoll Ad Pedestal Collection Saarinen

A listing for this tulip table and chairs appeared on Craigslist. Our son, Michael, discovered it and arranged acquisition. I can safely say that it’s an Eero Saarinen design, but I can’t verify Knoll as the manufacturer. If only I could do that.
Saarinen Pedestal Table ChairsThe white pearlized chairs match the table base. The pearlization process gives them a high sheen — elegant and modern. The aluminum bases suggest the set was manufactured before plastic polymers became strong enough to support a person’s weight.
Tulip Chairs
While the table top looks like pale pink granite, it’s actually a synthetic product — perhaps corian.
Saarinen Tulip Table top

Saarinen’s Tulip Table and Chairs

The undercarriage of chairs and tables in a typical interior makes an ugly, confusing, unrestful world. I wanted to clear up the slum of legs. I wanted to make the chair all one thing again.  — Eero Saarinen

That conundrum — the slum of legs — led Saarinen to design his Tulip Tables and Chairs, aka Pedestal Collection, in the mid-1950s. Described as part flower, part stemmed wineglass, the single pedestal of each piece perfectly represented the Space Age. Check out this Knoll ad by graphic designer Herbert Matter:
Knoll Ad Tulip Chair Saarinen
Saarinen, however, couldn’t achieve his “one piece, one material” goal. Although each table or chair appears made from a single material, the aluminum stem — covered with fused plastic — supports the fiberglass seat shell and, ultimately, a person.

As late as 1958, three years before his death, Saarinen mused, “I look forward to the day when the plastic industry has advanced to the point where the chair will be one material, as designed.”

Saarinen Tulip Tables
Saarinen’s revolutionary Pedestal Collection debuted in 1958. Source

Cranbrook Educational Community

Eero grew up among elite designers. In 1923, thirteen-year-old Eero emigrated to the United States from Finland with his mother and sister to join his father. Architect Eliel Saarinen already possessed an impressive portfolio.

Invited to design the Cranbrook Educational Community outside of Detroit, Eliel went on to serve as Cranbrook’s first resident architect and first president. An educational, research, and museum complex, Cranbrook was to be to be the American equivalent of The Bauhaus. Read about Bauhaus and the Wassily Chair here.

Among the many Cranbrook buildings Eliel designed, he actually lived in the Saarinen House, a harmonious composition that combines the Arts and Crafts Movement with Art Deco. Here’s a peek at the Dining Room:

Saarinen House
Dining Room, Saarinen House at Cranbrook. Photos: Balthazar Korab, © Balthazar Korab/Cranbrook Archives. Source

Loja Saarinen, Eliel’s wife and Eero’s mother, founded and directed the Department of Weaving and Textile Design at Cranbrook. She designed and wove the textiles in their Living Room:

Eliel Saarinen House
Living Room, Saarinen House at Cranbrook. Photos: Balthazar Korab, © Balthazar Korab/Cranbrook Archives. Source

While Eliel taught and administered at Cranbrook, Eero formalized his studies in architecture and sculpture at the Académie de la Grande Chaumière in Paris and Yale University.

Returning to Michigan, Eero taught at Cranbrook Academy and worked in his father’s architectural practice. The Saarinen family became close to many of Cranbrook’s students, specifically Florence Schust (later Florence Knoll), Ray Kaiser (later Ray Eames) and Charles Eames.

Organic Chair

As an instructor, Eero collaborated with Cranbrook student Charles Eames to create modern, multifunctional furniture. They wanted to bring contemporary designs to the working class. Quite simply, their furniture had to be functional and affordable. They experimented with molded plywood chairs. That is to say, in a pre-plastics world, they painstakingly molded plywood to create a chair with comfort and strength.

Charles Eames Eero Saarinen
Charles Eames and Eero Saarinen with a lightweight tensile structure designed for the 1939 faculty exhibition at the Cranbrook Academy of Art Architecture Studio. Cranbrook Academy Archives. Photograph: Richard G. Askew. Source

Their entry won first place in MoMA’s Organic Design in Home Furnishings in 1940. Despite their vision of bringing this chair into middle-class homes across the U.S., the Organic Chair couldn’t be mass-produced because the technology didn’t yet exist. This failure shaped the subsequent work of Charles Eames.

Today German furniture manufacturer Vitra produces the Eames-Saarinen Organic Chair.

Organic Chair Vitra
Organic Chair designed by Charles Eames and Eero Saarinen. Source

Florence Knoll

Remember Florence Schust from Cranbrook? She honed her design skills by studying under architectural stars of the 20th century: Walter Gropius, Marcel Breuer, and Ludwig Mies van der Rohe. Florence moved to NYC, where she met and married Hans Knoll, who was developing a fledgling furniture company.

Florence Knoll became a dynamic force in designing mid-century corporate interiors. Here’s an example of her work:

Florence Knoll interior
Cowles Publication interior, designed by Florence Knoll. Image from the Knoll Archive. Source

Womb Chair

At Knoll, Florence pulled in her designer friends. She asked Saarinen for “a chair that was like a basket full of pillows – something she could really curl up in.” His innovative Womb Chair answered Florence’s request.

Eero Saarinen
Womb Chair designed by Eero Saarinen for Knoll, 1948. Source

Knoll still manufactures Saarinen’s classics: the womb chair, and the pedestal table with  tulip chairs.

Here’s a last look at our pedestal table with 4 tulip chairs patiently waiting in our booth at Avonlea Antiques and Design Gallery. It’s gorgeous, but I’m still pained to say that I can’t verify that Knoll manufactured it.
Tulip Table Chairs

Read 5 Characteristics of Mid-Century Modern Furniture here.

Let us know what you think of Saarinen’s tulip tables and chairs.

Ann Marie and David

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Use African Tribal Decor To Enhance MCM Style

African Tribal Decor

Ethnic cultural furnishings, particularly African tribal decor, complement the clean lines of Mid-Century Modern style. Handmade objects made of metal, carved wood, and hand-woven textiles provide rich texture. Pieces like the ones discussed below will add an inherent sense of exoticism to any room.

I’ll focus on Africa because we acquired several remarkable pieces recently at an estate sale. The homeowner lived and worked in Zimbabwe as an electrical engineer for several years. His African tribal decor collection went far beyond mere tourist souvenirs.

West African Cast Brass Mask

I sought out — and paid for — an appraisal of this metal mask. Look at the detail: a bird, with a long, curved beak perches on the face. Its defined eyes appear on the side of the head, and a comb sits atop the bird’s head and wattle hangs from neck. I’m not even guessing at the type of bird.

The face shows masculine features; the wide eye openings have decorative edges. Decorative scarification runs from below the eyes down to the chin, as well as exaggerating the eyebrows. The delicate loops frame the entire face remind me of antique lace trim.

The appraiser told me this piece dates from the second half of the 20th century. It appears to borrow features from Nigeria and the Ivory Coast. Never intended for tribal use, the craftsman made it for the art market.
African tribal decorAfrican tribal decor

Zamble Guro African Tribal Mask

For these next masks, I did my own research. If I’m wrong, I’d appreciate your input. I believe this mask represents the mythical male Zamble of the Guro tribe of Ivory Coast. Zamble integrates animals into his features. This mask presents his antelope horns, crocodile mouth, leopard eyes.
African tribal decor
At one time, bright paint highlighted the mask. Very little remains, but his painted red tongue endures.
Zamble Guro Mask

Kpelie Mask, Senufo People

A more delicately carved mask, this one presents the female Kpelie, appreciated for beauty and fertility. Senufo men of the Ivory Coast and Mali, however, wore this type of mask during boys’ initiation ceremonies, harvest festivals and funeral rituals. The horns represent male characteristics. Scarification appears on the cheeks.
Kpelie Senufo Mask Africa

African mask – origin unknown

This elongated mask, propped up against a bookend, offers bright color and clean design. It’s carved from a single tree branch, and I adore the narrow eyes, long nose and colorful cheeks.
Elongated African Mask
All of the wooden masks we bought are hand carved:
Elongated African mask

Copper and Brass Metal Wall Art

When we first came across photos of this piece, it appeared to be a shield. On closer examination, it may be a massive bowl. We’re using it as wall art in our booth. Made of copper and brass pieces, hand riveted, it makes a terrific dramatic statement.
Africa display

1626 Map of Africa

I’m sure the above map is a reproduction, but Englishman John Speed created the original in 1626. Highly decorative and wonderfully speculative, it gives us mountains, lakes, and rivers that don’t really exist. But for the early 1700s, it’s great. The Aethiopian Ocean appears in place of the Atlantic Ocean. Drawings of traditionally clad natives border the map’s sides, while the top border presents 8 African cities. Our map’s connection to African craftsmen comes through its framing story. Mahogany wood frames the piece, done in Harare, Zimbabwe.

African Mud Cloth

I’ll take this occasion to mention our mud cloth, probably from Mali, and acquired at a previous sale. Also called bogolan, these are fabulous, unique textiles. David created a mud cloth canopy in our booth at Avonlea Antiques and Design Gallery to draw attention to our Africa display.
Africa display mud cloth
Hand-woven cotton forms the basis of our mud cloth. Narrow strips were stitched together to form the whole piece. Tree bark and branches were used to develop the dyes. The artist painted cowry shells and designs with paint made from fermented river mud, aged up to one year. Because of the process and artist, each cloth is unique. I like the idea of using textiles for a contemporary home’s African tribal decor. Instant pillow, tablecloth, or bed covering.

If you are interested in more information on the making of mud cloth, here’s a video:

Thanks for stopping by for a look at our African tribal decor. We’d love to hear about ethnic items you’ve picked up during your travels or at sales.

Ann Marie and David

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Harvey Probber: MCM Rosewood Dresser

Harvey Probber Rosewood Dresser

Design has a fourth dimension; the intangible quality of aging gracefully. — Harvey Probber

I’d never heard of Harvey Probber before we acquired his dresser. But the moment David and I laid eyes on its sleek lines, dark, sumptuous rosewood veneer, and perfectly matched grain, we wanted it.

A little research: Probber emerged as a leading designer when American modernism flourished in the mid-20th century.

Harvey Probber is part of that unsung second wave of mid-century modernists. Though he hasn’t achieved the ‘label’ recognition of Eames or Noguchi, I think he’ll become considerably important on the secondary market over the next few years. — James Zemaitis, former director of 20th-century design at Sotheby’s. Source

MCM American furniture designer
Harvey Probber, Source


Our son Michael fielded the initial inquiry. A woman wished to sell her father’s Harvey Probber dresser. A quick look at the outlandishly inflated prices on 1stdibs led to two discoveries: original Harvey Probber pieces are rare and expensive.

I set up a time for us to meet the client at her dad’s retirement community. David and I discussed the highest amount we could offer, stopped by the bank, and hoped for the best.

The dad had acquired the piece in the 1960s and loved it. His room in the nursing facility provided just enough space for a single piece of furniture beyond his bed and nightstand. This was what he kept. But alas, he faced a move to a smaller room. The seven-foot credenza with original glass top couldn’t join him. Because of her father’s health issues, the daughter served as negotiator.

We told her the amount of cash we could offer and her face fell. I found myself apologizing  and explaining that we’d have to cover the costs of transporting and cleaning it — and it needed a lot of cleaning. Beyond that, we’d pay rental costs to display it until we sold it to someone proud to own a Harvey Probber.

She had to discuss our offer with her two sisters. Sure, that’s fine. And she’d get back to us, one way or the other. But as we left, David speculated that we’d never hear back. I reassured him that we did what we set out to do. We made a reasonable offer, up front with no gimmicks. What more could we do?

A few days later she phoned and agreed to our offer. I’ve got to tell you, we were amazed.

Harvey’s Dresser

Probber used exotic woods for his cabinets and tables. This dresser, with finely crafted details, is rosewood:

Harvey Probber Dresser

We immediately dropped it off at our booth at Avonlea Antiques and Design Gallery. The legs  showed damage from a senior citizen’s walker, a constant presence in the dad’s life. Mop buckets could have caused the nicks, too.

David used Timbermate Woodfiller on the legs, filling in and evening out the corner edges. He applied ebony stain over all 8 legs. When dry, he sprayed a clear semigloss lacquer and topcoat on the legs.

Next came Howard’s Restor-a-finish on the wood surface. David carefully hand rubbed until the finish shone. The dresser had a few scratches, but the Howard’s minimized them. And David polished obsessively. His reward was a luxurious finish.

Have a look: This generous top middle drawer holds jewelry.

Harvey Probber DresserThe maker’s label:
Harvey Probber label
David achieved this brilliant sheen:
Harvey Probber Dresser
Harvey Probber Dresser

Harvey Probber (1922-2003)

So, who was Harvey Probber? While in high school, Harvey took a job at a used-furniture store and soon began to sketch his ideas for furniture. At 16, he sold his first sofa design for the glorious sum of $10. After high school, his formal training was limited to a few evening classes at the Pratt Institute. He learned furniture production on the job at Trade Upholstery in NYC.

The key to salvation was in bits and pieces of plane geometry . . . they were meaningless alone, but when fused to conventional shapes, profoundly altered their character. — Harvey Probber

After World War II, he started his own business, Harvey Probber, Inc., in 1945, and spent the next four decades designing furniture.

His greatest contribution came from developing modular furniture in the late 1940s. That is to say, he developed upholstered unit furniture — 19 pieces — that could be juggled into endless configurations. He named this the Sert Group in homage to architect and city planner Jose Lluís Sert. Expanding on that concept, he developed Nuclear Furniture, which included various shaped occasional tables with interchangeable pedestals.

Imagine rearranging your living room with these quadrants, half-circles, corner sections, and wedges. Oh, it would be magical. Check out the examples provided:

Probber Modular Systems Concept
Probber Modular Systems Concept 1945, Source

Production Continues

In 2012, licensed by the Probber estate, M2L began manufacturing selected authentic reproductions from Harvey Probber’s collection.

Probber ‘s designs won awards. The Museum of Modern Arts, for instance, selected his  Elastic Sling Chair and Upholstered Nuclear groups for their 1951 exhibition.

Harvey Probber
Harvey Probber Sling Chair, ca. 1948. Source

Harvey Probber sectional
Harvey Probber Nuclear | Sert Sectional, designed 1946. Source

Starting in the 1970s Probber focused exclusively on contract design. He always maintained his interest in modular seating, urethane foam and luxe upholstery fabric. It’s a delight to review his eclectic designs:

Harvey Probber Cubo Cluster
Harvey Probber Cubo Cluster, designed 1972, Source

Harvey Probber Deep Tuft
Harvey Probber Deep Tuft Sofa, designed 1972. Source

Reproduced by M2L
Harvey Probber Mayan Sofa, designed 1983. Source

Thanks for your interest in Harvey Probber and our absolutely gorgeous rosewood dresser. Until next time!

Ann Marie and David
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