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Here's a random sampling showing a pretty wide range of modern furniture.
There's an Eames LCW. Can't quite identify the mid-mod black chair in the background
Here's a chair by Alvar Aalto.
Imperial hotel chair in the distance beside two plum-colored generic comfy chairs
Interesting sort of Usonian chair. (If I recall correctly, that's Mies van der Rohe's sketch book in the plexiglass cube on the table).
Hoffman chairs around the FLW designed dining room table. Exotic chair in the corner.:
Alternate Nakashima table & chairs:
His collection of design objects is well curated. Palumbo avoids the chrome of Deco and Bauhaus (he left that behind when he sold Farnsworth...), but still manages to include some sympathetic, iconic European objects. ThereÃ¢â‚¬â„¢s also a rare Tapio Wirkalla coffee table https://www.bukowskis.com/fi/auctions/F ... -1960-luku , a Bertoia sonambient sculpture (seen in the top photo of the Nakashima dining table) https://caseantiques.com/item/lot-465-h ... sculpture/ , and a Price Tower office chair.
But how about that vintage southwest Native American pottery collection?!
I liked the Hoffman Fledermaus chairs, but the Nakashima work even better.
HereÃ¢â‚¬â„¢s that Nelson chair up close:
http://www.artnet.com/artists/george-ne ... IzBmE6dSw2
See the big G-W photo for a few baskets. They look great in Usonians, as you say, along with rugs and pottery. Wrightian pattern-making, likewise suggestive of natural or symbolic imagery ? Or must we look for content in the simplest checkerboard or zig-zag line ?
In the original Leavenworth's interior (also previous page) there's an intriguing glass-globe table lamp on the desk at right. Wonder what that is . . .
Both are venerable and respected classics, but one of them "belongs" while the other doesn't. If that's so, do we have any difficulty in saying which
is which ?
Or perhaps the case isn't quite so cut and dried. You tell me.
While we're thinking about it -- which of these two pieces would be more suitable for a typical house by
Pair one or both chairs -- or neither -- to as many architects as you wish. Or name another architect, or two, or . . .
I like the Womb chair. Saarinen -- the great architect of the curve who collaborated with Eames early on -- I like that the Womb was his version of full comfort (as requested by Florence Knoll).
A Womb chair can be a significant vehicle for color, so it's important to be intentional and coordinate the upholstery's color with the room it will occupy.
Chrome can be tough to pull off in a Usonian-type space. For me, the very thin chrome tube (1/2" diameter) fits in okay. The larger tube (1" diameter or bigger) starts looking out of place.
The above list of 14 modern architects (as I called them as a kid) contains more "metal" than "wood" boys, by my count -- 8 to 6, perhaps -- though the break point isn't clear-cut nor universal, by any means. Still, we have to try to categorize; we're humans . . .
I recall reading that Schindler was uncomfortable with shiny metal cabinet hardware. That's a wood guy for sure, while his buddy Neutra is clearly "metal." Eames plywood or Saarinen tulip or Womb chairs (or Rietveld) for the former (if necessary); Kandinsky and Corbu (or ProuvÃƒÂ©) for Neutra ?
I think blackened steel and bronze and brass all blend well with wood, brick, stone and other warm finishes. Brushed or polished chrome have to paddle upstream to get there. I do think there's something to the specific size of the metal piece, whether it will fit or not.
I've got this vintage Arne Jacobsen chair (it's a rare one of the Series 7 because it has arms). Its chrome frame looks to be about 3/8" in diameter, which is small enough to stay subordinate to the wood, I think. This one sits in the corner and behaves itself.
So, to put a Kandinsky chair into a Usoninan, it had better be satin black metal and brown leather -- eh ? Don't know if they make it that way . . . but money will buy practically anything.
Here's a note found in the large-font title to Wright's presentation drawing for the Heller house: "Floors, finish and furniture of one wood and color throughout." That's 1896, and it was a prescription that would apply to Wright's work throughout his career.