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Oscar Stonorov and Willo von Moltke Organic Design Unit Cabinet

$24,000List Price

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Oscar Stonorov and Willo von Moltke Organic Design Coffee Table
By Oscar Stonorov and Willo von Moltke
Located in New York, NY
Boat-shaped coffee table with beveled edges in silvered walnut by the team of German-born American architects Oscar Stonorov and Willo von Moltke, designed for the Museum of Modern Art's 1941 Organic Design in Home Furnishings competition, and produced in very small numbers by Red Lion Furniture of Pennsylvania. Per the MoMA catalog, “a design may be called organic when there is an harmonious organization of the parts within the whole, according to structure, material, and purpose. Within this definition there can be no vain ornamentation or superfluity, but the part of beauty is none the less great—in ideal choice of material, in visual refinement, and in the rational elegance of things internded for use.” The suite of furnishings designed by Stonorov and von Moltke---including a vanity, coffee table, dining set, bed, nightstand, and case pieces--won honorable mention at the seminal competition and received a preferred placement at the MoMA exhibition itself. The winning entries in the competition, which included the iconic seating and unit furniture by Charles Eames and Eero Saarinen, were showcased at eleven department stores across the country--notably Bloomingdale's and Kaufmann's--and were intended for serial production, but America's entry into WWII a month after the opening of the exhibition, along with higher than expected price points across the board meant that few pieces were actually made outside the ones initially sent to the participating department stores. This was especially true for the Stonorov and von Moltke suite, which wound up being among the most expensive items...
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Art and Trade Shop Unit Cabinet
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Carl Koch Techbuilt Spacemaking Furniture
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Located in New York, NY
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...
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Buchschmuck und Flachenmuster von Max Benirschke (Vol. 2 of De Quelle)
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First edition of the second volume (of three) of the renowned graphic design publication Die Quelle (the Source), deemed, along with the journal Die Flache, as among the finest examples of Secession-style graphic design. Published by M. Gerlach & Co of Vienna and Leipzig; not dated but circa 1902-1905. Buchschmuck und Flachenmuster translates to Book Decoration and Surface Design. It presents the work of Max Benirschke (1880-1961), an Austrian architect, illustrator, and designer who studied at the Kunstgewerbescule in Vienna under Josef Hoffmann and was subsequently hired by Peter Behrens in 1903 to teach at his newly founded School of Applied Arts in Dusseldorf. In 1900, Benirschke was enlisted by the famed Viennese publisher Martin Gerlach to produce a folio for Die Quelle; the result shows Benirschke “at the height of his Jugenstil period with a series of curvilinear plant motifs and patterns.” According to Austrian gallerist Michael Steinbach, the present volume is “one of the most important design portfolios...
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