As appraisers, we know the relationship between people and furniture is never static. The value and popularity of certain objects are constantly in flux. The nineteenth-century middle-class American home was all about objects, and heavily influenced by European aristocratic models. The pursuit of comfort and advances in technology and materials led to significant changes in the aristocratic idiom. But then things began to change.
In the twentieth century, modern furniture design was transformed by innovation and the influx of new styles. Much of the influence came when emigrant designers fled Europe eager to express and give vent to their visions. They incorporated new techniques, materials and methods to create a distinctly American style. While modernism was not created in America, it took on a look inimitably its own.
Over the next few months, I thought I would present a few modern designers’ work; explain what type of furniture maker they were and how their work has been doing in the market. Many of you will already know these designers and others may only be familiar with their names. Regardless, change is always going on, and we need to be aware of many different areas.
When modern design first hit America, the reception was mixed. Some people embraced these changes enthusiastically, others weren’t so sure. Modern design experienced highs and lows throughout the remainder of the century. The simplicity and popularity of mid-twentieth century design gave way in the 1980s under the Ronald Reagan influence to a more classic historical style. In clothing, Ralph Lauren brought back the quiet elegant look of restrained traditionalism, and the old money English country manor visage was made chic again by New York's "Prince of Chintz," Mario Buatta as he put a fresh twist on paneled rooms, Queen Anne furniture and floral chintz drapery treatments. Creative furniture designers were pushed to the fringes in mainstream America. (To Read the Rest of the article click the Read More Link below)
In the early 90s, there was a renewed interest in furniture from the mid century. Designers who made mass produced pieces such as Charles and Ray Eames, Eero Saarinen and George Nelson, became highly sought after. After their creations reached high prices at auction, the trend expanded. By this decade, names such as George Nakashima, Vladimir Kagan and Paul Evans began to emerge, as well as other studio designers whose work was never mass produced. Their market developed rapidly as the internet gave these designers more exposure and the economy expanded to include younger collectors. In the past few years, designers such as James Mont, Tommi Parzinger and Karl Springer who produced custom designs have been elevated in the spotlight.
Internet dealer venues such as 1stdibs and auction houses began to specialize in featuring rediscovered designers from the past. Furthering this exposure, dealers, design magazines and internet blogs began to explore many of these designers, as well as many still relatively unknown in their attempts to present the freshest, chicest high-end vintage items. As a result, many items that would have been considered nice, high-end furniture items passed over by most shoppers are now beginning to be sought after. In the years to come, it will be interesting to see who else will be uncovered and appreciated once more.
