Weinberg Modern

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...

First edition of this scholarly study of the influential Florentine avant-garde architectural collective Superstudio, a driving force in the Radical architecture and design movement ...

Monograph on the work of Andre Lurcat, important French modernist architect, designer, urban planner, and younger brother of the textile artist Jean. ...

Second edition of this compendium of radical and post-modern design produced by the Tuscan-based firm Poltronova from its early collaborations with Ettore Sottsass, who became Art Director in 1958, through the heyday of 1960’s anti-design and to the mid-1970s. Features work by both Old Guard masters and emerging leaders of the Radical Movement including (in addition to Sottsass) Archizoom, Superstudio, Sergio Asti, Gae Aulenti, Angelo Mangiarotti, Allesandro Mendini, Massimo and Lella Vignelli, Gianni Ruffi, Giovanni Michelucchi, Gianfranco Fini, Mario Ceroli, Ugo Nespolo, Roberto Barni, Paolo Portoghesi, Gino Marotta, and the group De Pas, D’Urbino, and Lomazzi. Written by Pier Carlo Santini and published by Artigraf Edizioni in 1996, following its initial run in 1977. 4to, 181 pages with text in Italian; stiff printed wraps with printed brown paper dust jacket. Fully illustrated, primarily in black-and-white. Includes artist biographies. A scarce and significant resource chronicling the contribution of this avant-garde design firm. A crisp, collectible copy with only minor bumping to the dust jacket and extremities. From the estate of design guru Jim Walrod...

Monograph on renowned and prolific mid-century Finnish designer Saara Hopea-Untracht, written by her husband, the American metalsmith, educator, and writer...

Chaise of tubular steel with plastic end caps and its original mesh sling. By Austrian/American designer Henry Glass, 1960’s. Prototype from his Sling-Line series of mobile and space...

76-page catalog from the exhibition "Edward Wormley: The Other Face of Modernism," held at the Lin Weinberg Gallery in 1997. The exhibit helped re-introduce Wormley's work to the mar...

Portfolio of Art Deco and early modernist Paris shops and boutiques, showing both interiors and exteriors, edited by Roger Poulain and published by Vincent Freal et Cie (Paris) in 1929. 72 (of 72) loose plates plus checklist enclosed in graphically striking printed paper-covered boards with ribbon ties. Includes projects by Eugene Printz, Claude Levy...

Well-edited and lavishly illustrated survey of mid-century Italian ceramics, written by Hugo Blattler and published in Rome in 1958 by Aristide Palombi as part of the Arti Pratiche series, intended to contribute to an examination in depth of the material, as well as to the documentation and to the spreading of knowledge of each separate subject. Features vessels, lighting, fireplaces, and artworks by renowned artists such as Lucio Fontana, Salvatore Meli, Fauson Melotti, Gio Ponti, Antonia Campi, Marcello Fantoni, Franco Meneguzzo, Pietro Melandri, and Guido Gambone, along with a host of lesser-known figures. Stellar abstract designs throughout. Square 8vo (8.5” x 9”), 206 pages, hardcover, illustrated throughout in b/w. Slight lean to spine. Mild soiling to extremities, with chipping to corners. Professional repair to front hinge, as well as between pp. 194-5 and 204-5. Light chipping to first two leaves. The complete front cover remains of the dust jacket, which is still crisp and vibrant, with only minor chipping to top edge. Missing spine and back of dust jacket. A must-have for collectors and connoisseurs of Italian design and mid century ceramics.

Important and lavishly produced survey of postwar California domestic architecture, written by Frank Lloyd Wright-trained California architect Herbert Weisskamp and published by Abrams in 1964. First edition, oblong 4to (10.25” x 7.25”) hardcover with pictorial dust jacket, 4 full color photos, 314 black-and-white photos (3/4 of them by Julius Schulman), plus 113 b/w plans, drawings, and elevations. Showcases the work of the following architects and landscape designers: Raphael Soriano, Pierre Koenig, Craig Ellwood, Frank Lloyd Wright, Mark Mills, Aaron Green...

Chair with tilting seat back in solid birch with a vintage seat cushion fabric. A winning entry by Ann Hatfield and Martin Craig in the seminal MoMA 1941...

First edition of Bernard Rudofsky’s idiosyncratic and iconoclastic discussion of modern living conditions in postwar America, published by Oxford University Press in 1955. 201 pages, 8vo, hardcover with pictorial dust jacket. Several black-and-white illustrations. Rudofsky (1905-1988), an Austrian/American architect, curator, critic, industrial designer, exhibition designer, fashion designer, and author is best-known for his controversial exhibitions and accompanying catalogs, including Are Clothes Modern? (MoMA, 1944), Architecture Without Architects (MoMA, 1964), and Now I Lay Me Down to Eat (Cooper-Hewitt, 1980). He is also famous for his mid-century Bernardo sandal designs, which are popular again today. Behind the Picture Window...

Prototype stacking chair hand-built of aluminum by furniture designer and artist Richard Schultz as a full-size 3-D model exploring the ergonomic and sculptural qualities of a design...

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...

Prototype stacking chair hand-built of an aluminum sheet and tubular aluminum by furniture designer and artist Richard Schultz as a full-size 3-D model exploring the ergonomic and sc...

Group of three small abstract sculptures, titled Module Trio, of blackened steel, fused and dyed bronze, and glass enamel. Made in 2019 by Am...

Oil on board titled "Sky" by outsider artist extraordinaire Robert Loughlin, painted in 2011. Set into an aluminum jet engine turbine fan. The only work of numerous I've handled that I commissioned from Robert, a friend, colleague, and frequent supplier of vintage modern design. The turbine fan was a cool found object in the Machine Age tradition that I had no idea what to do with so I asked Robert to use it as a frame for one of his paintings. "Sky" was the result--an iconic image of The Brute with a jet stream of cigarette smoke...

Manufacturer’s ring binder catalog showcasing the 1992 product line for Brueton Furniture, a New York City-based company that produces upscale furniture and accessories for the residential, contract, and hospitality markets. Founded in 1926, Brueton was an early convert to the use of highly crafted stainless steel, still an area of specialty. Along with designs by Stanley Jay Friedman and J. Wade Beam—familiar names in the vintage modern design market—the 1992 catalog includes work by Sergio Orozco, Mark Mascheroni, Mark Goldberg, John Duffy, Mitchell Pickard, Charles Gibilterra, Bert England, Victor Dziekiewicz, Glenn Polinsky, Joseph Gerstman, Bruenu, Richard Thompson, Robert Sonneman, Ed Born, and Ira Grayroff. Stylistically skewed to post-modern, the catalog also features clean-lined international style pieces plus reissues of several classic modern designs by Hans and Wassily Luckhardt...

Rare hanging fixture composed of four glass cylinders of varying heights and diameters, arranged in a spiral pattern; each held by three protruding brass-plated rods. Designed by Pau...

Gouache and ink on mat board by Adja Yunkers, signed and dated 1958 on verso. An early work from Yunkers's Abstract Expressionist period, when he was married to art critic Dore Ashton and was part of the circle that congregated at Cedar Tavern. Born in Riga, Russia, Yunkers led a highly cosmopolitan life, studying and working in Leningrad, Berlin, Paris, London, and Stockholm (where he edited and published two art magazines) before settling down in the U.S., primarily in New York City in 1947. A teacher at the New School for Social Research, Yunkers was internationally renowned for his woodblock prints and lithographs, turning to painting--first Expressionist, later Minimalist color fields--in the late 1950's. His work is in the permanent collections of numerous museums, including the Brooklyn Museum, MoMA, the Corcoran Gallery, MFA Boston...

Hardcover catalog of Fritz Hansen furniture featuring work by Arne Jacobsen, Borge Mogensen, Hans Wegner, Verner Panton, Kaare Klint, Karen and Ebbe Clemmensen, Kristian Vedel, Mogen...

Rare slatted settee on chromed steel base designed by Gerald McCabe and produced in California by Pacific Furniture, circa 1965. Sort of Marshmallow sofa m...

"Segment Étagère” a sculptural work in torch-cut and polychromed steel with fused bronze, solvent dyes, and glass enamel, with four glass shelves. By American artist James Bearden. The rectangular étagère, with its dramatic yet delicate composition and juxtaposition of shapes and colors drawn from Bearden’s evolving vocabulary, is perched atop four slender legs. Bearden's work was featured in a 2020 solo exhibition at the NY Design Center titled "James Bearden: Technical and Aesthetic Revelations," in an article in the January 2017 Interior Design Magazine; in an introspective feature on 1stdibs; and in a feature article in DSM Magazine. The étagère is part of a group of case pieces being offered individually--see the photo of three cabinets below. Custom sizes and colors are available upon request. In an introduction to the 2020 exhibition, curator Kartrina Weinberg wrote: "In the two years after the artist’s last solo exhibition — where the material reality of steel was evident in both its title and monochromatic appearance — Mr. Bearden sought to break free from pre-conceived judgment of his medium, as well as the persistent misnomers applied to his art. While subtle color play has always existed in his previous works, the development in his coloring technique — from painted polychrome to dyed glass enamel — allowed for dramatic saturation and stunning complexity in his new palette, bringing heightened immediacy to his biomorphic and anthropomorphic imagery. The artist had always challenged the gravitational reality of steel, but he has found new expressions towards verticality and delicacy, transcending material and elevating function. The open compositions, ranging from ornamental tracery to dynamic use of negative space, allow for the interplay of light and air, animating the environment with ever-changing viewing possibilities. This exhibition took inspiration from the naturalist traditions and fantastical imagery of Early Netherlandish paintings...

Sculptural vessels in an ovoid form with walled aperture. Hand-built of gray chamotte Limoges porcelain by Swiss ceramic artist Sonja Duo-Meyer (b. 1953) and executed circa 1995. The...

Hanging fixture in a spiral composition composed of three pierced ceramic forms of decreasing size connected by brass rods and fittings to a brass ceiling plate. Designed by Lee Rose...

Monograph on celebrated modernist architect and designer Pierre Chareau, published by Editions du Salon des Arts Managers in Paris, 1954. With text by Rene Herbst, preface by Francis...

Large format first edition monograph on blue-chip Kinetic artist Jesus Rafael Soto, published by Editions du Griffon in 1984. Inscribed in a bold han...

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...

New Year’s greeting ushering in the year 1967 mailed out by renowned Italian artist and educator Eugenio Carmi (1920-2016). Folds out to a serigraph measuring 39.25” x 26.75”. This e...

Abstract sculpture of bent wire with a painted wooden sphere suspended by fish line atop a wooden base, created circa 2010. Essentially a maquette, as Hunter always thinks about scal...

Seminal 1930 survey of early modernist furniture and interior design projects by known German and other European designers. Approximately 200 different designs featuring about 70 designs by Ludwig Kozma, who designed the striking red and black cover of the hardbound volume. Designers include Augenfeld, Brehaus, Hoffmann, Jeanneret, an early Paul Laszlo in Budapest, Le Corbusier, Sobotka, and Josef Frank, along with a host of lesser-known names. 196 pages, most filled with black and white plates...

“Jason” cocktail table in stainless steel and glass by New York City designer and interior decorator Gary Gutterman. An exceptionally well-executed continuous form with the unusual f...

Rectangular cocktail table of cut laminated plywood with solid wood supports. A well-constructed circa 1940s design with an architectural bearing, likely a one-off commission. The top sits within two lateral struts, giving the appearance of bridge architecture. . A design in the manner of Nathan Lerner...

Sculptural "Containment" box, a vessel in blackened steel, dyed bronze, and red glass enamel by American artist James Bearden. Number 2 in a series. Top lifts off revealing an abstra...

1949 survey of small modernist houses in America, compiled and edited by William J. Hennessey based on selections by a jury of architectural photographers in...

Unique photogram, No. 9, by New York photographer Timothy Reagan, produced as part of a series in 1997-98. An 8" square gelatin silver print, never before shown, in pristine condition. Stamped and signed on verso. Timothy Reagan opened his NYC photo studio...

First edition (stated) photographic essay documenting the surfing subculture on the eastern end of Long Island. Published by Harry N. Abrams, New York, in 2004. Tall 4to, unpaginated...

Two-piece cast iron candleholder or vessel designed by Jens Quistgaard for Dansk, circa 1960s. A sculptural and scarce form from Quistgaard's ce...

Original poster for the exhibition "Piet Zwart Ontwerper (Designer)" held at the Haags Gemeentmuseum in the Netherlands in 1973. Zwart was a Dutch photographer, Industrial designer, and Pioneer of modern typography...

Important and brilliantly edited survey of early modernist furniture and interiors. Written by Herbert Hoffmann and published by Julius Hoffmann in Stuttgart in 1930. Features work by a who's who of the period's top designers, including Alvar Aalto, Marcel Breuer, Le Corbusier, Donald Deskey, Maurice Dufresne, Paul Laszlo, Jaques Adnet, Rene Herbst, Eugene Printz, Fritz Brehaus, Andre Lurcat...

One-volume survey of "Austrian Applied Arts", primarily Secession, with an introduction by Josef Hoffmann. Published in 1930 by Heinz & Co. Organized by t...

Rare desk in walnut and banded copper-plated aluminum, designed by Donald Deskey and produced by Ypsilanti Reed Furniture Company, circa 1929. A strong statement of Machine Age aesth...

Panels for the Walls of Heaven, a square octavo volume of poems, abstract illustrations (based on paintings by the author) and outre typography, by experimental poet and artist Kenneth Patchen, published by Bern Porter...

A portfolio of 12 offset-printed heart designs by noted German graphic designer Pierre Mendell (1929-2008) assembled from his work at Mendell & Oberer -...

Scarce, self-published, 102-page catalog with laminated boards showcasing Paul Laszlo's work in and around Beverly Hills between 1937-1947. The Hungarian born and Vienna-educated Las...

Unique photogram, No. 4, by New York photographer Timothy Reagan, produced as part of a series in 1997-98. An 11" x 14" gelatin silver print, nev...

Unique photogram, No. 7, by New York photographer Timothy Reagan, produced as part of a series in 1997-98. An 8" x 10" gelatin silver print, neve...

Highly textured, abstract wall relief of sawn, stained, and collaged wood and found wood objects by Lithuanian-born American artist Josef Twirbutt. T...

Hard bound first edition monograph on pioneering feminist artist/performance artist Hannah Wilke. Titled "Hannah Wilke: A Retrospective," it was published in 1989 in conjunction with...