After a year in California as a window dresser for I. Magnin and Bullocks, he returned to New York, where he worked as clothing designer and window dresser by day. At night he studied with Hans Hofmann. His ceramic works were shown at the Whitney Annual Exhibition in 1944. His jewelry designs were exhibited in a one-man show at the Museum of Modern Art.
He began to make a name for himself as an interior designer in the mid-1940s, employing a minimalist style, a monochromatic palette and luxurious accents, such as rich leathers and furs. He was one of the earliest American designers to use industrial materials in the home and pioneered the conversation pit.
In 1964 he began to collaborate with Brickel Associates, designing furniture and textiles. In 1987 he began working with Geiger. He also designed for Tiffany and Company, Sasaki and Hermes.
His designs are displayed in the Museum of Modern Art's permanent collection, as well as in the Cooper-Hewitt National Design Museum.
From nytimes.com and geigerintl.com
Flatware moma.org |
The club chairs. Definitely the club chairs. HOpe you feel better soon.
ReplyDelete@DearHelenHartman: The club chairs are cool, but I'm in love with the Envelope and the Scissor...and that flatware. I'm also hoping I feel better soon. Hope you're getting over your bug too.
ReplyDeleteI like the look of the flatware. I'd imagine it has good heft, unlike much of the hollow or stamped stuff that's around today.
ReplyDelete@nick: I refuse to own flimsy flatware. My dream for some time has been to own a set of John van Koert's Contour flatware that he designed for Towle, but after seeing this set by Bennett, I may change my mind. Till I find a vintage set I can afford, I'll stick with my Opus by Henckel. It has a nice modern look, a nice heft and a decent price.
ReplyDelete