Love these kinds of pickups. 1940’s Lloyd Chromium Tubular Sofa, designed by Kem Weber. .
#kemweber #tubulercouch #midcenturyhomedesign #midcenturymodern #midcentury #vintagetweed #vintagecouch #vintagesofa #vintage

#KEMWeber: The Moderne in Southern California, 1920-1941” by David Gebhard and Harriette Von Breton (1969; 2nd edition of 750 copies). Published in conjunction with the first major retrospective of the work of the pioneering architect and industrial designer. Perhaps best known for his contributions to West Coast Art Deco, Weber designed sets for Paramount Studios, several lines of furniture — including his renowned "Airline" chair of 1935 — many department stores, several private residences and, from 1939 to 1941, Walt Disney Studios in Burbank.

Born Karl Emanuel Martin Weber in Berlin, Germany, Weber initially trained under the royal cabinet maker Eduard Schultz in Potsdam, before enrolling at the Kunstgewerbeschule (School of applied arts) in Berlin in 1908 where he studied under Bruno Paul. Graduating in 1912, Weber went on to work in Paul's office, having previously assisted his tutor in the design of the German pavilion at the 1910 'Exposition Universalle' in Brussels.

It was the design of a second pavilion that proved to be the turning point in Weber's career. Paul sent his assistant to San Francisco, California to supervise work on the German pavilion being built for the Panama-Pacific International Exposition of 1915. However, Weber was soon overtaken by other international events. The onset of World War I prevented him from returning home despite the construction of the pavilion being suspended, leaving him stranded in California. #kemweber #losangeles #modernism

After waiting for nearly two years in an employee lottery system, today I finally got the chance to tour Walt Disney’s original office - fully restored to the exact state he’d left it in 1966. Every detail down to the smallest paperclip had been catalogued and archived at the time of his passing and in 2015, ‘Suite 3H’ was reopened for private tours.
The suite consists of both his Formal Office, full of memorabilia, books, toys, (and the piano that the Sherman Brothers would play for him on) and his Working Office, with his phone, Rolodex, plans for Disneyland, and button-accessible hidden kitchen.
There’s an unmistakeable sense of Walt’s presence as you look at how he’d designed his workspace and surrounded himself with inspiration; his creativity, curiosity, ambition, and sense of style was palpable. Truly a legend.

I’ve always loved the way Rob’s work incorporates text and references from literature. This, from his installation at the Brooklyn Museum, which he conceived as an “activation” of the permanent collection: a vanity designed by Kem Weber, from 1934, with its streamlined curves defined by chrome-plated tubular steel. The statement he has added in glass letters on the wall above--“I saw myself see myself”—here confers a poetic complexity on what might otherwise be a mere piece of furniture.

The line is, Rob says, an iteration of the title of Beatrice Wood’s autobiography, “I Shock Myself.” But it also reminds me of a line Virginia Woolf wrote (in Mrs. Dalloway, I think) about a woman looking in the mirror and composing her features “to give her face point.” I know what she means: the face I see when I look in the mirror is not the face other people see when they look at me; it’s simply the most attractive version of my face that I’ve managed to come up with, and I present it to myself every time I need a mirror’s reassurance.

Now, I suppose, thanks to selfies, we can see what everybody’s mirror face looks like.

Seeing my friend Rob Wynne’s show at the Brooklyn Museum, an “activation” of the permanent collection, I found myself pausing time and again to study works that were impressive and striking—some by renowned artists but many by artists I’d never heard of.

Case in point: among the 19th-century portraits is one of Sarah Cowell LeMoyne, an actress, by Jane E. Bartlett (who???), from 1877. It’s a startlingly modern portrayal, with its forward pose and head-on gaze, and it feels like a collaboration between two forthright, ambitious women. To the right of it hangs William Merritt Chase’s full-length portrait of Lydia Field Emmet, an artist herself, from 1892. She, too, seems self-assured, looking back over her shoulder, with her hand on her hip, but Chase presents her in a more traditional fashion, in keeping with the conventions of the period. (Swipe left for Bartlett’s portrait of LeMoyne, and left again for Chase’s of Emmet.)

Rob has inserted an exclamation point on the wall between the two portraits, as if to register our amazement at these bold women, ahead of their time, and to call attention to the fact that, besides painters like Chase, whose names we know, there were accomplished artists that history has overlooked.  It’s a welcome surprise to see that many of these were women. Their rediscovery is long overdue.

At the Brooklyn Museum’s invitation, my friend Rob Wynne, a wonderful artist, has created and inserted works in the galleries of the permanent collection. Some museums call this an “intervention.” Rob prefers to call it an “activation” of the collection, which is apt. The result is sensitive, witty, visually delightful, and thought-provoking, offering smart contemporary commentary not only on the art and objects but also on the place they’ve been assigned in history.

The elevator doors open and you’re greeted by this quartet of 19th-century neoclassical sculptures. Behind them is Rob’s “Extra Life,” a nebula of glass discs applied to the wall, that looks like a landscape of the universe. What often strikes you first about Rob’s work is that it’s beautiful; it’s only when you look beyond the surface that you see there are provocative ideas and associations.

The centrifugal energy of Rob’s piece calls to mind the laws of physics that govern space and light. The three figures at the middle of the gallery—Nydia, from Bulwer-Lytton’s novel “The Last Days of Pompeii;” The Lost Pleiad, a star who forfeited her position in the Pleiades constellation when she married a mortal; and a Bacchante—are all twisting movement and swirling draperies, buffeted by the gale-force winds of some cosmic cyclone. Off to the side stands Pandora, surrounded by stillness, about to open her box.

Or did I just take a picture for others? #robwynne #brooklynmusuem #mybkm #kemweber

Jack gunter. Today’s acquisition. Vintage tubular chrome arm chair designed by KEM Weber, 1930s. #jackgunter#kemweber #tubularmetal #machineage #industrialdesign #1930s #artdecostyle #antiquechair

Classic Art Deco Machine Age polished chrome desk lamp by faries guardsman #artdeco#machineage#skyscraper #kemweber#gilbertrohde #donalddeskey #farieslamp #coocoou

A girl can dream can't she? Regrann from @l.hautdesign - Stunning!👀🌟 A VERY rare Kem Weber Airline Chair. Designed by obe of the fathers of American Modernism in 1934-35! Via @lamodernauctions
#americanmodern #americanmodernism #kemweber #airlinechair #inmydomaine #vintagechair #midmod #midcenturymodern #teakinterior #homedesign #modernhome #midcenturyfurniture #interiorlove #hermanmiller #midcenturyliving #chair #midcenturymodernchair

When they write the definitive book on Modern California Design David Gebhard will get a whole chapter.
David Gebhard and Hariette von Breton [Curators]: KEM WEBER: THE MODERNE IN SOUTHERN CALIFORNIA 1920 - 1941. Santa Barbara: The Art Galleries, University of California, Santa Barbara, 1969 / 1976. Second printing of 750 copies. For sale right now.
#KemWeber | #DavidGebhard | #CaliforniaDesign | #CaliforniaModerneDesign

Stunning!👀🌟 A VERY rare Kem Weber Airline Chair. Designed by obe of the fathers of American Modernism in 1934-35! Via @lamodernauctions
#americanmodern #americanmodernism #kemweber #airlinechair #inmydomaine #vintagechair #midmod #midcenturymodern #teakinterior #homedesign #modernhome #midcenturyfurniture #interiorlove #hermanmiller #midcenturyliving

Vintage Cole Steel Chrome Fame Sofa. .

#KemWeber 1940’s chrome rocking chair featuring our Bacan Cotton Cashmere Velvet in whippet. Now available as part of an exclusive vintage furnishings collection in our #NYC showroom #vintagefurniture #antiquechair #fortuny

Take a nap on our dreamy deco daybed.
#kemweber #machineage #therennerproject

Saturday morning curves 😍: Erik Gunnar Asplund, Crematorium (Stockholm, 1935-40) via @sumner_shop @_ekco :: French sculptor Valentine Schlegel Fireplace via @sumner_shop @rodolpheparente :: #KemWeber Wedermeyer Residence (Altadena, California 1936) via @ryansoniat :: Gio Ponti Staircase via @studioshamshiri

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