Vintage Habitat Verner Panton Wool Circular Blue Purple Rug Mid Century Modern For Sale
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Vintage Habitat Verner Panton Wool Circular Blue Purple Rug Mid Century Modern:
From our Spaceship to yours.
Let's meet each other in the airlock and make Love.Verner PANTON Habitat Rug Radiating Purple and Blue, Original, Modern, Groovy, Pschydelic and the whole nine yards.
First Time on ever in 10 years!
Verner Panton original area rug in beautiful blue and purple colors.We love Peacocks, Peace and Love which is why we originally purchased this rug for the colors reminded me of a Peacock in Love. Hare, Hare indeed. We believe in Love, Sweet Love! Always good for the Heart Chakra.
The pictures are stock images, the rug we offer is MINT DEADSTOCK still sealed in the original burlap wrapping from Habitat. The rug is in mint condition but the burlap wrapping is falling apart as pictured and has some tears and staining. No worries. The rug is mint for it is sealed in plastic underneath the burlap.
Never opened before!
A Verner Panton for Habitat 'Panton' limited-edition circular area rug, of hand-tufted wool, with radiating pattern in two shades of blue on a purple ground, fabric label. Measures: 60 in (152.5cm) diameter. The design was created by Panton in 1969 but remained in his drawing board until being released by Habitat in 1998 as a limited edition which makes it quite rare. I have stored it for the last 20 years in California. Nice and dry with a chance of fluffy little clouds in the early morning.
This is an official Verner Panton design which he himself released through Habitat before he passed away in 1998 (there is no such thing as death).The same rug in 'used condition' is listed on 1stdibs for $2,729.32.I will ship this wrapped in plastic; I don't know how else to ship it.Also available for pick up in Northern California.Find my toe on the pictures and I will give you a free hug if you desire so.Medium: hand-tufted wool rug
Size: 60" diameter (152.5cm)
Condition: sealed in original burlapGuaranteed original.First time on ever!!!
The following is filler nonsense:
Over the course of his career Verner Panton (1926-1998) introduced a series of modern chairs and lighting with personalities unlike any of his Scandinavian contemporaries. With a remarkable faith in the unlimited possibilities of forms and materials, he worked successfully to create a new set of theories about how a chair should look and how it should seat someone. Experimenting with every material available, and propelled by the rapidly advancing technology of the production processes, he created a body of work that is astounding for its elegance and for the remarkable diversity of his pieces.
He was trained at a technical school in Odense, Denmark as an architectural engineer and then at the Royal Danish Academy of Fine Arts in Copenhagen. He worked in Arne Jacobsen's architectural office from 1950-52, where it is rumored that he was one of the worst workers, ostensibly because he was preoccupied with his own designs. He started his own design office in 1955 and, in the same year, came out with the tubular steel and woven cane "Bachelor" and "Tivoli" chairs. In 1958 his work as the architect of the Applied Art display at the Fredericia Furniture Fair was a harbinger of his non-traditional approach to the tenets of design. Shocking both attendees and artists, he displayed the furniture by hanging it from the ceiling of the stand. With his 1958 "Cone" chair, and the "Heart" chair the following year, both made of upholstered bent sheet metal, he began to subtly change the structure of the chair. The chairs had no discernible back, and no legs, and resembled a sculpted cylinder into which someone would be inserted. Because his chairs, even from the beginning, rarely had traditional legs, critics at the time suggested that they should be called 'seats' rather than try to imagine them as chairs. He revisited this shape in 1963 with the "Wire Cone" chair.
The 1960 stacking "Panton" chair, the first to be produced from a single piece of molded plastic, brought Panton international recognition with its modern and unexpected form. It was first shown at the Mobilia club and awarded an A.I.D. award in 1968. The shape of the chair, a single curve with no extraneous skeleton was designed to give a soft, rather than rigid, support and it was made is a range of bright colors. Originally produced by Fritz Hansen, it was later picked up and put into mass production by Herman Miller. Panton's 1966 "S" chair, produced by Thonet, was similar to the "Panton" in shape and was the first single piece cantilevered chair in plywood. He also expanded this shape into the 1963 "Upholstered Seating System" pieces that were longer, stretched out versions, like a completely relaxed "Panton" chair. This series was inspired by Panton's philosophy that a set of furniture should interact within itself as "a kind of chair landscape, which refuses to be just functional."
In the late 1960s and early 1970s Panton experimented with a radical series of upholstered environments. He wanted "to encourage people to use their fantasy and make their surroundings more exciting," and to this end created the 1963 "Flying" chair, the 1968 "Pantower," an upholstered unit with several levels, and the1974 upholstered "Sitting Wheel." Two chairs he created for Cassina in 1979, "Sisters Emmenthaler" and the "Mrs. Emmenthaler" chaise longue, were more playful and figurative, imitating the shape of the body.
Panton is also known for his extraordinarily unique and sculptural lighting in plastic and Capiz shells. He employed shells, UFO-like metal and plastic elements, plastic balls and brightly colored or shiny twisted strands of plastic to forward the philosophy set forth by fellow Dane Poul Henningsen that the design of a lamp should obscure the bulb or light source. Some of his most coveted designs from this time include the "Wonderlamp," "VP Globe," "Spiral Lampen," the "Fun" series and the "Flowerpot." The body of work produced by Verner Panton represents one of the most progressive and successful of the 20th century.
In 1954 the four Scandinavian countries, Denmark, Sweden, Norway and Finland arranged what proved to be the most important marketing effort ever for Scandinavian design—the monumental exhibition Design in Scandinavia. From 1954 to 1957 Design in Scandinavia toured the United States and Canada. The exhibition was presented in 27 cities, and it was a huge success, initiated by The Danish Society of Arts and Crafts and its sister organizations in the other participating countries.
Based on the success the four countries established what they called the Scandinavian Design Cavalcade, which had a lot of US press coverage as well. In that connection the July 1959 issue of House Beautiful was centered around The Scandinavian Look in U.S. Homes, and it was Denmark and Danish Design in particular that the magazine focussed on. Besides the editorial pages, the numerous ads illustrates that Danish modern furniture was increasingly gaining a stronghold among certain groups of American consumers.
Importers and retail chains like John Stuart Inc., George Tanier, Raymor and Dunbar etc. now sold Danish modern furniture in the US, and by now it was not only hand crafted furniture from the Copenhagen Cabinetmakers’ Guild Exhibitions but also pieces from industrial furniture producers like Fritz Hansen, Søborg Møbelfabrik, Fredericia Furniture and many others. From the end of the 1950s Danish Department stores and other retailers produced comprehensive brochures and booklets in English with prices in US Dollars presenting Danish Design to American and other tourists.
Without exception, these stores all presented the narrative of Danish modern. “Denmark is known all over the world for its exquisite home furnishing, which are characterized by their outstanding design and superb craftsmanship” the department store Magasin claimed in its brochure “Danish Design.”