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432 Park Avenue, New York, NY, United States, 10022 (map)
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Viewing 1 December - 7 December
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Southampton Highlights Exhibition
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11:00am-6:00pm

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1 Hampton Road
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Benjamin Green
\nAssociate Specialist

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Associate Head of Sale

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bgreen@phillips.com
\n+1 917 207 9090

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Promotional image for The Widdicomb Furniture Company, circa 1952.

\n\n

Written by Luke Baker

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The designer, decorator, and critic Terrence Harold Robsjohn-Gibbings arrived in the United States from England around 1930 to sell European antiques to wealthy Americans as the head of Charles of London’s New York flagship store. However, he would soon find himself soured on the fussy historic imports, brought in by the boatload from dusty dynastic estates across the Atlantic and acquired by a clientele eager to adopt the next trendy revival, from Tudor to tous les Louis.

\n\n

What began as an aversion to antiques would become Robsjohn-Gibbings’ reformist campaign to develop a true American design idiom for the postwar era, a mission he pursued for the next thirty years through his prolific writings and popular furniture collections for mass manufacturers. Nowhere is this impulse to create a timeless American style more apparent (or successful) than in the spectacular Mesa table from 1952, the most significant and rare of Robsjohn-Gibbings’ designs.

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“America has wasted time, money and effort for the last fifty years wistfully recalling the architecture and furniture of Europe,” Robsjohn-Gibbings tartly opined in Goodbye Mr. Chippendale, a 1944 treatise against the devotion to antiques. But contemporary manifestations of European Modernism offered no appealing alternative to such “brown furniture" either. In Homes of the Brave from 1954, he disdained the “spidery metallic seating,” and austere interiors that seemed to prize a progressivist ideology over the comfort of the human bodies that would dare to inhabit them.

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T.H. Robsjohn-Gibbings, Mesa coffee table, model no. 1760-6, designed 1952, produced 1953. Design New York.

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Rather, Robsjohn-Gibbings saw the end of wartime austerity as an auspicious moment to resurrect the country’s design and manufacturing industries by defining a new domestic aesthetic — one shaped not by past styles or prescriptive philosophies, but by how people actually wanted to live. “In the post-war years that lie ahead, America will be called upon to rehouse and provide furniture for millions of its people,” he wrote in 1944. “So let’s think over the depressing saga that made us into antique collectors and […] examine our own good architecture and the possibilities for good contemporary American furniture.”

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Robsjohn-Gibbings did just that, shuttering his successful high-end furniture and decorating business to become the creative director of Grand Rapids-based manufacturer Widdicomb Furniture Company in the early 1940s. For the next decade, he focused on producing collections of well-designed objects intended for middle-class Americans — furniture that celebrated the American values our GIs had fought to defend: democracy, perpetual self-invention, and the freedom to live however we damn well please.

\n\n

Even among Robsjohn-Gibbings’ 1952 collection for Widdicomb, the Mesa table marks a departure from the norm with its strikingly sculptural form and scale. Many of his furniture designs drew upon the proportions and ancient forms of Antiquity, but Mesa’s novel organic shape was said by the designer to be inspired by the distinctive landforms of the American Southwest, as seen from above. Combined with the topographic effect of its graduated stacked slabs, Mesa is less a table than a geological formation domesticated for the living room. True to Robsjohn-Gibbings’ trademark subtlety, its surface is smooth and unembellished, deliberately free of reference to style or era, with the figure of its native American walnut veneer as its only decoration. As if to further dismiss any association with its predecessors, the table’s stepped horizontal surface sits on a broad and asymmetrical pedestal foot, foregoing the four slender legs of its platonic archetype.

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Portrait of T.H. Robsjohn-Gibbings with a selection of his furniture designs, 1947. Photograph by John Rawlings.

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Shortly after its debut, the Mesa table was featured on the front of House Beautiful magazine, the exemplification of the cover story on “The luxury of informality.” In the ensuing spreads, readers were introduced to numerous Southwest-inflected interior settings Robsjohn-Gibbings designed for the Widdicomb showroom and appointed with a range of pieces from his most recent collection for the company. Each embodied his conception for a new mode of domesticity that eschewed the stuffiness of tradition and embraced casual comfort, ease, and flexibility. As the centerpiece of the living room, the Mesa table was styled to display the stuff of life — albeit an aspirational one — from pre-Columbian vessels (a nod to indigenous North American aesthetics), to perfume bottles and abstract objets d’art. “We are discovering the simple but forgotten fact that people are most themselves and most interesting when they are comfortable,” the article’s author observed. The Mesa table’s convenience and versatility were key to the American approach to leisure and entertaining. It was a piece designed for serving highballs, poured promptly at five; for displaying full-color magazines, from LIFE to Art and Architecture; for conversationalists to gather around, smoking in low-slung chairs; for after-dinner knitting projects or trays of finger sandwiches.

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\n
“The new house and their interiors are the new way of life of a new generation."
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— T.H. Robsjohn-Gibbings
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Monumental in scale, assertively horizontal, and exuding a rich and natural warmth, the Mesa table is borne of Robsjohn-Gibbings’ humanist ideal for the post-war American home.This wasn’t an object designed for the taught and formal boxes of the Victorian, or the equally constraining and severe “machines for living” espoused by the early 20th century Modernists. “Contemporary houses are the natural development of architecture to meet the changing forms in our social habits and customs,” he noted in Goodbye Mr. Chippendale. As such, Mesa was conceived for a home that invited relaxation and leisure with sweeping, open living spaces. Our houses should be “projections of human personalities and universal human needs, rather than essays in architectural style or theory,” Robsjohn-Gibbings asserted in Homes of the Brave. He went on to praise the “familiarity and architectural unpretentiousness” of the new ranch house typology, that uniquely American vernacular that dominated new home construction after the war, but which traces its lineage to the organic architecture of Frank Lloyd Wright, a designer whom Robsjohn-Gibbings found deeply influential.

\n\n

The Mesa table is Robsjohn-Gibbings’ crowning achievement in his ambition to develop a design vocabulary authentic to the culture, landscapes, and distinctly individual spirit of his adopted homeland. “The new house and their interiors are the new way of life of a new generation,” he pronounced in 1944. By shaking free the yokes of stylistic pedigree, Mesa was molded instead by the enduring values of comfort, nature, and craftsmanship, boldly signaling a new era with an appropriately timeless form.

\n\n

Discover More from Design >

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\n","publishDate","2022-11-21T14:30:13.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/109159740/new-domestic-landforms-the-mesa-table-by-th-robsjohn-gibbings","displayOrder",2,"auctionEditorialID",1704,"editorialID",4050,"flocklerID",109159740,"https://flockler.com/thumbs/sites/889/lalannechairs-8bd53cf7-2b68-44ca-b801-458df6480833_s600x0.png","Dung Ngo, Editor-in-chief of AUGUST: A Journal of Travel + Design, explores the artist’s iconic crocodile motif\n\n","The Whimsical World of Claude Lalanne","

Claude Lalanne, Pair of "Crococurules", designed 1992, produced 2009 and 2012. Design New York.

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Written by Dung Ngo

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In the past fifteen years, the work of François-Xavier and Claude Lalanne has gone from the private, cult domains of Yves Saint Laurent and the Agnellis to something akin to maximum exposure, showing up in Marc Jacobs’ apartment in the pages of Architectural Digest to Tom Ford’s boutiques. From major museum retrospectives to full-scale monographs, Les Lalanne are being introduced to a new and young audience, eager to absorb their idiosyncratic visual language. We are having, as they say, a peak Lalanne moment.

\n\n

Yet, encounters with each Lalanne sculpture — whether it’s one of François-Xavier’s rhinoceros desks or Claude’s apples — cannot but bring a smile to one’s face. Their whimsical, Surrealist-tinged sculptures have both universal appeal and conceptual rigor. Despite the fame relatively late in their lives, the Lalannes continued to live modestly and worked continuously until their passing at their workshop/home/garden in Ury, a little more than an hour south of Paris. The few times I met Claude while working on their monograph, François-Xavier & Claude Lalanne: In the Domain of Dreams, she wore the traditional bleu de travail jacket, even to her own openings.

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Claude Lalanne, Pair of "Crococurules", designed 1992, produced 2009 and 2012 (detail). Design New York.

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Devoted followers of the Lalannes know that François-Xavier (1927-2008) worked exclusively with animal forms, while Claude (1925-2019) dealt with the flora world. This is mostly, but not entirely, true. Some of Claude’s most iconic works incorporated animal parts; her famous Choupatte series, a cabbage that was originally cast from her own garden, sports a pair of chicken legs, while the aforementioned apple has a pair of human lips. Claude’s crocodile series is another body of work where she ventured into the animal kingdom.

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\n
“For us classification is of absolutely no interest but if forced to, we would say that, yes, we make sculpture.”
\n\n
– Claude Lalanne
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Claude’s works are more realistic in appearance than François-Xavier’s, partly because many of her pieces are originally cast from live specimens. Claude’s first crocodile sculpture was purportedly casts from a small crocodile from the Paris zoo, which was given to her by the zookeeper after it died of natural causes. This pair of Crococurules by Claude is especially unusual in her oeuvre in that they incorporate a classical chair form, rather than imitation of branches or vines, as in her other furniture pieces. Roman in origin, the curule was a seat of honor reserved for magistrates and emperors. By replacing the typical fur with a cast of a crocodile skin, Claude rendered an honorific chair into pure sculpture, in the grandest Surrealist tradition.

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Claude Lalanne, Pair of "Crococurules", designed 1992, produced 2009 and 2012. Design New York.

\n\n

Discover More from Design >

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Recommended Reading

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Nanna and Jørgen Ditzel: Nature in Design >

\n","2022-11-21T13:12:47.000000Z","https://www.phillips.com/article/109154569/claude-lalannes-pair-of-crococurules",1,1703,4051,109154569,"https://flockler.com/thumbs/sites/889/nakashima-81-3234fc6e-5976-4de6-b193-175b6191ff6b_s600x0.png","How technical mastery and creative vision brought woodcraft to the fore of American postwar design. ","Towards Organic Modernism: 1950s American Interiors","

George Nakashima’s living room, as photographed for the March 1952 issue of House and Home.

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Written by Natalia Torija Nieto

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Whether for or against the use of modern machinery, wood craftspeople active in the United States during the postwar period were part of a movement that continues to transform the definition of American Modernism.

\n\n

These champions of wood — including George Nakashima, Vladimir Kagan and T.H. Robsjohn-Gibbings, among others—worked under very different circumstances but under the same climate of discordance between what was or was not considered truly modern. They pushed against the advent of innovative materials like plastics, plywood and veneer, opting instead for the humble and timeless use of timber.

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George Nakashima, "Cushion" chair and ottoman, 1954. Design New York.

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By the 1950s, the International Style spearheaded by a group of — mostly — Bauhaus emigrés had been lauded for the better part of two decades in the architecture and design publishing world. At the same time, a radical backlash warned of the “threat” posed by this group through the authorship of House Beautiful’s editor Elizabeth Gordon. In the April issue of 1953, Gordon brazenly accused these architects of “promoting unlivability” and “cold, barren design,” advocating instead that “good modern combines the best technological knowledge with sensitive understanding of people’s requirements.”

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In the years to come, Gordon continued her quest to thwart this movement. In direct response to Arts & Architecture’s Case Study Houses (1945-66), for example, she launched the Pace Setter House Program (1946-65) in favor of regionally designed “organic” architecture. However it wasn’t until Gordon’s July 1959 Scandinavia issue, and the following summer 1960 issues on the Japanese concept of shibui, that something clicked in the American mindset. The magazine presented the two cultures’ understanding of the modern dweller’s basic needs and planted the seed for an appreciation for the understated yet refined beauty in the home.

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Finn Juhl, “Chieftain” chair, model no. FJ 49 A, designed 1949, executed 1960s. Design New York.

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On the one hand, Scandinavian and particularly Danish design was very influential in the U.S. Finn Juhl, who debuted on this side of the pond with a short-lived collaboration with Baker Furniture in the early 1950s, made a version of his seminal Chieftain Chair (1949) available to American buyers. And the furniture of Hans J. Wegner, while not as readily available, was featured widely even making the cover of House Beautiful in November 1954 with The Chair (1949), “probably the most stolen-from design in the world,” as author Marion Gough noted. Both designers understood the inviting and relaxing appeal that was sought after in modern furniture by blending principles of ancient folk tradition with current aesthetics.

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George Nakashima, Custom sliding door cabinet, 1961. Design New York.

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On the other hand, perhaps one of the most exemplary figures working towards the idea of shibui in the U.S. was George Nakashima. By the 1960s, the trained architect had established himself as a woodworker, an artist-craftsman dedicated to the material by hand, but without fighting the machine. After a short stint for Knoll in the 1940s, Nakashima fully dedicated himself to his workshop in New Hope, Pennsylvania employing fellow woodworkers, only partly interrupted with a collection for Widdicomb-Mueller which debuted in the October 1958 issue of House Beautiful. Here, an experiment in proportion is evident as is the use of organic forms that speak more to Scandinavian influence and less to the architecturally-shaped pieces he would eventually become known for. After this foray into mass production, however, Nakashima turned to his shop never to set foot in the factory-made world again.

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George Nakashima, Set of three "Amoeba" nesting tables, 1962. Design New York.

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“The illusion of simplicity,” wrote Gordon, “comes from the fact that [the Japanese] have put their development effort where it will count the most: the making of an integrated whole.” Nowhere is this more evident than in Nakashima’s work. One of his earliest and “simplest” designs, the Slab Coffee Table from the 1940s broke new ground by introducing the free-form grain and edges of a solid plank of wood balanced on an architectural base, resulting in a beautiful, functional design. The house he built only after first completing his woodshop next door, was featured as part of an editorial on “The Unique Homes of Interesting People,” in House Beautiful’s April 1963 issue.

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George Nakashima, "Slab" coffee table, 1962. Design New York.

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Terence Harold Robsjohn-Gibbings (1905-1976), a British interior designer and critic working in the U.S. around the same time, likewise designed some pieces for manufacture at Widdicomb in the 1940s. While not a woodworker himself, he drew from architecture as far back as Ancient Greece and up to Frank Lloyd Wright and was featured prominently in the media including in the May 1952 issue of House Beautiful which introduced his Mesa Table and Cocktail Sofa. Needless to say he too was opposed to the International Style.

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Hans J. Wegner, Set of six "China" armchairs, model no. 4283, designed 1944, executed 1969-1970. Design New York.

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Good modern combines the best technological knowledge with sensitive understanding of people’s requirements.”
\n\n
– Elizabeth Gordon, Editor of House Beautiful, 1941-1964
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The younger Vladimir Kagan (1927-2016) is perhaps the odd one out: “I’m totally un-House Beautiful. I don’t practice what I preach,” he said in a 2015 interview. “I’m more is more. I never get rid of anything or downsize. I have a strong urge to build a minimalist living environment, though.” The designer — sought after by celebrities from Marylin Monroe to Brad Pitt — was taught by his father, a master cabinetmaker, to “honor the handcraft” (“ehre das handwerk”). And he did, in his own way. Kagan’s curved, sculptural furniture with nods to space-age googie architecture from the 1950s remains as timeless as ever because of its iconic style.

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House Beautiful is the longest published home magazine in the U.S. During Gordon’s time as editor, the readership more than tripled, making it a significant influence that arguably helped shape the Modern American interior, considering, of course, that she did not shy away from calling it “propaganda.”

\n\n

Discover More from Design >

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\n\n

Nanna and Jørgen Ditzel: Nature in Design >

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12

Attributed to Carlo Enrico Rava

Pair of benches

Full-Cataloguing

Attributed to Carlo Enrico Rava