Greta Magnusson Grossman: Furniture and Lighting

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Greta Magnusson Grossman Furniture and Lighting

THE D R AWI N G CENTER

Greta Magnusson Grossman Furniture and Lighting

October 17 – November 6, 2008

DR AWING ROOM

Curated by Brett Littman

D R AW I N G PA P E RS 81

Introduction by Evan Snyderman Essay by Brett Littman

PL. 1

Technical drawing for base and unit “C,” Glenn of California, 1953

PL. 2

Technical drawing for buffet, dresser, and double dresser, Glenn of California, 1952

PL. 3

Technical drawing for floor lamp with two shades, Ralph O. Smith Company, n.d.

FIG. 1

Desk in walnut and wrought iron, Glenn of California, c. 1952

Introduction

by Evan Snyderman

In 1996 I walked into a New York gallery and had my first encounter with Greta Magnusson Grossman’s work. The piece was a desk, a simple, perfectly proportioned desk with a balance of strong yet delicate lines and an asymmetric leg in crossed walnut and wrought iron [FIG. 1]. My interest was immediately piqued. I began asking people about her: other gallery owners, dealers, collectors, and curators, anyone who could possibly possess historical information. My initial questioning bore little fruit, however, and I found myself wondering more and more about the designer behind what I saw as unique, bold, and playful designs that seemed to me distinctly feminine in scale and silhouette. After two years of initial inquiries, I knew little more than that Greta Magnusson Grossman was Swedish-born, designed some furniture and a few lamps, and had lived and worked in Los Angeles.

Nevertheless, Lily Kane, my colleague at R 20th Century, and I became devoted to an exhaustive search for information. We took our gallery’s library apart looking for notes or entries in (typically out-of-print) books on design and architecture, but turned up precious little. Lily spent days at the public library searching through magazines from the 1950s and 60s for advertisements or mention of Grossman. We found a few articles on her—in a 1949 issue of House

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Beautiful, a 1951 issue of Interiors, and a 1951 issue of American Artist—which informed us that she was the first woman in Sweden to win a prestigious government-sponsored award for design as well as that she famously designed a crib for Sweden’s royal family. We also learned that she was given several “Good Design” awards from the Museum of Modern Art in New York. Amazed by how little information existed on a designer with such a pedigree, we searched on, even scouring eBay for designs or documentation.

At the Cooper Hewitt’s library we discovered Arts & Architecture, an at one time highly influential magazine, edited by John Entenza, which covered California-based designers more thoroughly than any other publication from the mid-century period. Arts & Architecture proved that not only did Grossman exist but she was also quite prolific as a designer of furniture and lighting as well as architecture. Numerous issues contained articles about her work and advertisements that featured it as well. Her new designs were frequently reviewed, and the interior photo spreads of her homes were often shot by renowned photographers. Arts & Architecture provided the information that allowed us to begin to truly comprehend Grossman’s place in the historical narrative of twentieth-century design.

While Grossman’s work is only now becoming well known, it is apparent that her place within the mid-century Southern California design movement was well established. She was the only woman who held a private architecture practice and finished numerous projects throughout Northern and Southern California (and in her native Sweden). She designed both furniture and lighting for over a dozen companies and taught at the University of California, Los Angeles.

Her projects, both design and architecture, were published in innumerable international publications and received awards worldwide.

It is also readily apparent that her arrival in Los Angeles sparked a distinct Scandinavian-modern trend in the Southern California aesthetic. The small shop of Swedish modern design she opened when she immigrated to Los Angeles, and her employment as a designer for Barker Brothers, one of the most successful furniture stores in the area, must have influenced this trend significantly. At least the dra-

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PL. 4

Interior of Grossman’s home, Los Angeles, c. 1950s, photograph by Julius Shulman Š J. Paul Getty Trust. Used by permission. Julius Shulman Photography Archive.

matic increase in the number of advertisements for Scandinaviandesigned objects and imports during this time suggests as much.

Through Pierre Koenig, one of the most significant and influential architects of Southern California’s modern era—Koenig confessed that he did not know Greta Magnusson Grossman personally, but he knew her work—I was directed to a photographer named Julius Shulman. Shulman was then, and remains, one of the foremost photographers responsible for bringing twentieth-century modernism to the world. Shulman’s rich black-and-white prints gave California design and architecture from the 1940s and 50s a glossy, Hollywood glamour befitting the era. He provided readers of shelter magazines across the country intimate access to the Southern California experience, and to how people were living under the aegis of leading architects such as Raphael Soriano and Richard Neutra.

When I mentioned the name Greta Magnuson Grossman to Shulman, he became almost teary-eyed: he remembered her well—“A handsome woman,” he recalled. Shulman, it turned out, was the primary photographer of Grossman’s work during the 1940s and 50s, but had not heard her name in nearly forty years. He brought me into a small room off his main studio where he kept what he called his “retired files.” There, he found everything from cards listing the addresses of Grossman’s architecture commissions, to Polaroids of her and her work, to actual negatives and prints. Within the piles of related files, we uncovered a portrait: it was of Grossman, taken around 1950. On it she had drawn a cartoonish mustache and glasses in pen, and on the back she had written, “Never use.” This was my first insight into what she might have been like as a person outside of her professional career.

Our continuing research brought us to UCLA’s Arts Library and, ultimately, to David Gebhard and Robert Winter’s A Guide to Architecture in Los Angeles & Southern California (1970), in which we found an address for “the Grossman house.” We drove to the address atop Cold Water Canyon in the Hollywood Hills and found a simple, elegant brown house, seemingly untouched from the day it was

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built in 1946. We called directory assistance and found the owner’s name, but after placing several unanswered calls, we had to move on.

Several months later, I traveled to Encinitas, a little beach town outside of San Diego. This was Greta Grossman’s last known address.

Lily had tracked down some women in the area who had been friends of Grossman’s, some for almost thirty years. I went to meet them and found that she had died only recently, but I was more shocked to learn that her friends knew nothing of the fact that Grossman had been a designer or architect of some note.

The reason Grossman downplayed her design and architecture career, seemingly to the point of near-denial, is unclear. Prior to her move south, her husband—who also acted as her business manager—fell ill and eventually died. This may have been a factor in her abandonment of her professional career. The friends she knew in Encinitas were all part of a painting club, and it is possible that she simply threw herself into painting with the same fervor that had driven her career up until that point. And as her professional career in design and architecture began very early, perhaps she was simply tired of the never-ending deadlines and structure.

But it would also be naive to speak of her career without at least conjecturing that the significant challenge she faced as one of the only women in a competitive and intensely male-dominated field had something to do with her early retirement. Despite the wealth of press on Grossman, she never gained the reputation of a Charles Eames or a Richard Neutra, and this may have prematurely halted her aspirations.

Nevertheless, these friends who knew nothing of Grossman’s former life gave us the number of the lawyer who was handling her estate. I called, and after explaining our years of research and our determination to preserve the legacy of this at once mysterious and influential twentieth-century designer, the lawyer agreed to release the phone number of the only known relative—Greta Magnusson Grossman’s stepdaughter, a woman in her 80s who was then living in rural Pennsylvania.

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FIG. 2

“Cobra” desk lamp in aluminum and steel, Ralph O. Smith Company, 1949

After a time, Grossman’s stepdaughter finally agreed to release the estate to me. When I arrived to take possession of it, I found myself surrounded by more information on Grossman than I ever dreamed existed. Her training and early career in Sweden were detailed in five binders of press clippings from international magazines, some of which compared her to movie stars of the time and held her up as a role model for women wishing to pursue a career. I unrolled hundreds of beautifully executed technical drawings and renderings for residences, furniture, and lighting, all of which had been stored for decades in a steamer trunk. And I came across swatches of her textile designs, her prototype table lamps, her ceramics, and her hand-woven rugs. These items were familiar to me from the interior photographs of her house, but I never knew that she had designed every one of the objects I so admired.

The drawings in particular bring the designer to life: through their firm, bold pencil lines that traverse now ancient vellum, through Grossman’s extensive notes and production instructions, and through her animated sketches of such visionary finished furniture and lighting.

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PL. 5

Technical drawing for floor lamp, The Charles Company, c. 1947–48

PL. 6

Technical drawing for floor lamp, Ralph O. Smith Company, n.d.

PL. 7

Technical drawing for Formica coffee table, disks in different colors, Glenn of California, 1952

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PL. 8

Technical drawing for table lamp, Ralph O. Smith Company, c. 1948

Greta Magnusson Grossman Furniture and Lighting

by Brett Littman

W HY SHOW INDUSTR I A L DESIGN DR AW INGS AT THE DR AW ING CENTER?

The current exhibition of Greta Magnusson Grossman: Furniture and Lighting is the first time that The Drawing Center has shown industrial design drawings. Although all of the former directors, myself included, have been engaged in exploring the relevance of architecture in relationship to the history of drawing, it seems as though the technical drawing up to this point has not been part of our purview.

I think that it is now imperative that this institutional blind spot be addressed.

Why is it that industrial design drawings have not been part of our investigation? Is it because of their inherent relationship to the commercial world of mass produced goods—seemingly more informational than aesthetic—that their importance to the story of drawing has been overlooked?

In the typology of drawings, I feel that the technical drawing holds a unique place and value. It is at once creative, investigative, mathematically refined, archival, directive, and the ultimate presentation sales tool to push something from idea to production. In the past

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two centuries drawings of industrial objects such as steam engines, trains, airplanes, zeppelins, rockets, spacecraft, telephones, x-ray machines, furniture, escalators, computers, cell phones, and iPods tell us important information about our intellectual and commercial ambitions. Modern industrial design also clearly records major global advancements in science, engineering, and technology. It holds the key to understanding the shift from craftspeople to engineers as the dominant figures in the history of fabrication, due to the fact that only through standardized drawing can objects be reproduced interchangeably or mass produced. Beyond these practical considerations, industrial design drawings also trace our culture’s ever changing aesthetic modes and formal styles, from arts and crafts, to art nouveau, to streamline, to mid-century modern, to post-modern.

It would seem then that these historically rich drawings act as an important repository for modern social, political, and economic ideas and thus should be treated as a necessary part of our institution’s remit. It is my hope that exhibitions such as Greta Magnusson Grossman: Furniture and Lighting will push us to further analyze and synthesize the multivalent strains of this artistic activity we call drawing.

THE TECHNICA L DR AW INGS OF GR ETA M AGNUSSON GROSSM A N

Greta Magnusson Grossman’s technical drawings tell several interesting stories. First of all, in Grossman’s work we can see a unique merging of Scandinavian “Good Design” with the mid-century Southern California aesthetic. Her early training in Stockholm in furniture, textile, and metal design, and her subsequent relocation to Beverly Hills in 1941, provide the backdrop for the formation of her iconic design sensibility. The drawings also document the work of a commercially successful and highly influential female practitioner who worked at a time when very few women were recognized in the fields of architecture and industrial design.

The twentieth-century Scandinavian “Good Design” movement harnessed the most technically advanced production techniques to

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produce simple, unornamented, materially conscious objects for the mass population. Designers in the early to mid 1900s, such as Bruno Mathsson, Sven Palmquist, and Sigvard Bernadotte in Sweden; Alvar and Aino Aalto, Timo Sarpaneva, Eero Saarinen, and Kaj Franck in Finland; and Arne Jacobsen, Poul Henningsen, and Hans J. Wegner in Denmark, all took seriously the mandate to create sophisticated, affordable, and beautiful products for both home and work environments. Through their work, these designers promoted the Scandinavian proclivity for social democracy and provided a deeper understanding of the needs of the growing global middle class.

Grossman attended the Art Industrial School in Stockholm from 1931 to 1933 and was surely exposed to this dominant design ideology. Going into any project, whether architectural or industrial, she clearly articulated the function, form, and materiality of the object at hand. In particular, the technical drawings for a lamp shield (1950) and a desk lamp (c. 1948–50), both for the Ralph O. Smith Company, provide us with incredible insight into her process [PLS. 9, 10]. In an editorial feature in Arts & Architecture, the writer notes of Grossman’s lamps that, “These lamps are based on the principle of reflected light. They are designed in a way that they will best eliminate most of the glare from the bulb and conceal it from the eye. The reflector is molded in a form and shaped to reflect as much light as possible. With the shell swiveled to a flexible arm, the light can be reflected in any direction.”1 What today is ubiquitous, a simple clamshell lamp design with a pivoting head, was in the 1950s quite innovative. These drawings synthesized complex engineering and production issues with modern minimalist design precepts to produce something that was useful, pleasing, and ultimately affordable.

Grossman was also able to translate her Scandinavian “roots” into postwar America’s burgeoning ideas about “casual living.” In an interview for American Artist, Grossman states, “Most contemporary homes must get along without servants…So the modern architect and designer must provide average modern housekeepers with 1

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Arts & Architecture (January 1950).

PL. 9

Technical drawing for lamp shield, Ralph O. Smith Company, 1950

PL. 10

Technical drawing for desk lamp, Ralph O. Smith Company, c. 1948–1950

an environment that can be kept clean and livable without a retinue of butlers and maids…She requires simple, polished surfaces on her tables, chairs, chests etc. that can be cleaned easily and do not collect dirt. No intricate carvings please, says the modern housemaker who does her own work.”2 The black-and-white Micarta “Harlequin Table” (1945) and the coffee table with extension (1952), both for Glenn of California, are made with plastic, wood, and sleek brass bases, totally uncluttered and easy to clean above and below [PLS. 11, 14]. These tables were designed to fit harmoniously within the indoor/outdoor open plan houses and apartments that were prevalent in Southern California at the time. Grossman says about her furniture, “The general effect is one of mellow, golden surfaces, of lightness and airiness and informal comfort.”3 Her direct impact on the Southern California design aesthetic can be traced through the work of her fellow colleagues and associates in Los Angeles such as Charles and Ray Eames, Pierre Koenig, and John Lautner, all of whom adopted and furthered the philosophy of “Good Design” in the United States as a means to develop their own vernacular.

One other essential legacy of these drawings is that they provide important documentation of Grossman’s contributions as a woman to the field of industrial design. Other than Eileen Gray, Eva Zeisel, Ray Eames, Florence Knoll, Anni Albers, and Dorothy Liebes, few other female architects or furniture or textile makers received as much recognition or press, or had their work available on such a wide scale. Grossman was strikingly described as “tall, handsome and youthful-looking with a kind of Viking intensity.”4 She was clear about the inequities afforded to her gender and she rallied against the conservative idea that men were better designers than women.

As Grossman herself exclaimed, “The old idea that women are not as good as men at mechanical work is stuff and nonsense. The only advantage a man has in furniture designing is his greater physical 2

3 4

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Rose Henderson, “A Swedish Furniture Designer in America: An Interview with Greta Magnusson Grossman,” American Artist, Vol. 15 #1C issue 150 (December 1951), 56.

Henderson, American Artist, 57.

Ibid., 53.

PL. 11

Technical drawing for coffee table with extension, Glenn of California, 1952

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strength.�5 Grossman was absolutely the archetype of the independent thinking and successful modern woman with both a family and a career.

It is odd however, that today Grossman has been largely left out of the cannon and discussion of mid-century design. One reason for the historical oversight may be that although some of her designs were made for the mass market, very few objects today remain in circulation. It also seems that later in her life, when she moved to San Diego, she downplayed her illustrious architecture and design career with her new friends and associates.6 Nevertheless, it is my hope that these recently found technical drawings will provide the springboard for future research and interest in Greta Magnusson Grossman, an architect and designer who was truly ahead of her time.

5 6

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Ibid.

See Evan Snyderman’s essay in this volume for more on Grossman’s withdrawal from public view.

PL. 12

Technical drawing for forty server in solid walnut, Glenn of California, 1951

PL. 13

Changes for X-base coffee table, Glenn of California, 1952

PL. 14

Technical drawing for black and white Micarta “Harlequin Table,” Glenn of California, 1954

PL. 15

Technical drawing for top unit Micarta doors, Glenn of California, 1952

LIST OF WORKS

PL. 5

PL. 12

Technical drawing for floor lamp,

Technical drawing for forty server

The Charles Company, c. 1947–48

in solid walnut, Glenn of California, 1951

Grossman Studio Drawing #1273

Grossman Studio Drawing #1346

Pencil on paper

Pencil on paper

28 x 37 inches

42 1/2 x 36 inches

PL. 8

PL. 11

Technical drawing for table lamp,

Technical drawing for coffee table

Ralph O. Smith Company, c. 1948

with extension, Glenn of California, 1952

Pencil on paper

Pencil on paper

8 1/2 x 12 1/2 inches

33 x 30 inches

PL. 10 / COVER

PL. 15

Technical drawing for desk lamp, Ralph O.

Technical drawing for top unit Micarta doors,

Smith Company, c. 1948–1950

Glenn of California, 1952

Grossman Studio Drawing #1275

Grossman Studio Drawing #1354

Pencil on paper

Pencil on paper

16 1/2 x 21 1/2 inches

14 x 23 1/2 inches

PL. 9

PL. 2

Technical drawing for lamp shield,

Technical drawing for buffet, dresser,

Ralph O. Smith Company, 1950

and double dresser, Glenn of California, 1952

Grossman Studio Drawing #1293

Grossman Studio Drawing #1358

Pencil on paper

Pencil on paper

14 x 18 inches

41 1/2 x 36 inches

“Cobra” table lamp shown

PL. 13

with “Good Design” tag from the

Changes for X-base coffee table, Glenn of

Museum of Modern Art, New York,

California, 1952

Ralph O. Smith Company, 1950

Grossman Studio Drawing #1362

Photo mounted on board

Pencil on paper

20 x 16 inches

18 1/2 x 17 inches

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Chair, shown with “Good Design” tag

Architectural exterior, Los Angeles, c. 1950s

from the Museum of Modern Art, New York,

Photo mounted on board

Glenn of California, 1952

20 x 16 inches

Photo mounted on board 20 x 16 inches

PL. 4

Interior of Grossman’s home, PL. 7

Los Angeles, c. 1950s,

Technical drawing for Formica coffee

photograph by Julius Shulman

table, disks in different colors, Glenn of

Photo mounted on board

California, 1952

20 x 16 inches

Grossman Studio Drawing #1363 Pencil on paper

Architectural exterior backyard,

24 1/2 x 14 inches

Los Angeles, c. 1950s Photo mounted on board

PL. 1

20 x 16 inches

Technical drawing for base and unit “C,” Glenn of California, 1953

Architectural exterior, Los Angeles, c. 1950s

Grossman Studio Drawing #1430

Photo mounted on board

Pencil on paper

20 x 16 inches

38 x 36 inches Architectural exterior, c. 1950s Technical drawing for brass base

Photo mounted on board

with two tabletops, Glenn of California, 1954

20 x 16 inches

Grossman Studio Drawing #1449 Pencil on paper

Architectural interior, Los Angeles, c. 1950s

14 x 32 inches

Photo mounted on board 20 x 16 inches

PL. 14

Technical drawing for black and white Micarta “Harlequin Table,” Glenn of California, 1954 Grossman Studio Drawing #1448

Architectural interior, Los Angeles, c. 1950s Photo mounted on board 20 x 16 inches

Pencil on paper 14 x 25 1/2 inches

Architectural interior, Los Angeles, c. 1950s Photo mounted on board 20 x 16 inches

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Technical drawing for table lamp, Ralph O.

Technical drawing for table lamp with

Smith Company, n.d.

wooden base, Marbro Company, n.d.

Grossman Studio Drawing #1290

Grossman Studio Drawing #1272

Pencil on paper

Pencil on paper

36 1/2 x 26 inches

31 1/2 x 24 inches

Technical drawing for tray cart,

All works courtesy of R 20th Century

G.T. Line, n.d.

Permanent Collection, New York.

Grossman Studio Drawing #1267 Pencil on paper

Photography by Cathy Carver,

31 1/2 x 36 inches

except figs. 1 and 2 by Sherry Griffin and pl. 4 by Julius Shulman.

PL. 6

Technical drawing for floor lamp, Ralph O. Smith Company, n.d.

Grossman Studio Drawing #1275 Pencil on paper 18 x 22 inches Technical drawing for floor lamp, Ralph O. Smith Company, n.d.

Grossman Studio Drawing #731 Pencil on paper 19 x 24 inches PL. 3

Technical drawing for floor lamp with two shades, Ralph O. Smith Company, n.d.

Grossman Studio Drawing #1274 A + B Pencil on paper 18 1/2 x 25 inches

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BOARD OF DIRECTORS

ACKNOWLEDGMENTS

Frances Beatty Adler Co-Chairman

This exhibition is made possible by

Eric C. Rudin Co-Chairman

The Barbro Osher Pro Suecia Foundation,

Dita Amory

The American Scandinavian Foundation,

Melva Bucksbaum

and Nina and Frank Moore.

Suzanne Cochran Anita F. Contini

Additional funding is provided by members

Frances Dittmer

of the Drawing Room, a patron circle founded

Bruce W. Ferguson

to support innovative exhibitions presented in

Barry M. Fox

The Drawing Center’s project gallery:

Stacey Goergen

Laura Jacobs Blankfein

Michael Lynne*

Devon Dikeou

Iris Z. Marden

Mr. and Mrs. Henry R. Kravis

George Negroponte

Jill Lear

Lisa Pevaroff-Cohn

Judith Levinson Oppenheimer

Elizabeth Rohatyn*

Pierre and Tana Matisse Foundation

Jane Dresner Sadaka

Elizabeth R. Miller and James G. Dinan

Allen Lee Sessoms

The Speyer Family Foundation, Inc.

Jeanne C. Thayer*

Louisa Stude Sarofim

Barbara Toll

Deborah F. Stiles

Candace Worth

Ann Tenenbaum and Thomas H. Lee Elizabeth Tops and Arnie Lizan

Brett Littman Executive Director

John C. Whitehead Isabel Stainow Wilcox

*Emeriti Special thanks to Evan Snyderman and Lily Kane, R 20th Century.

E S S AY I S T B I O S

Evan Snyderman received his BFA in glass from Rochester Institute of Technology in 1992, and his MFA in glass from Tyler School of Art in 1994.

After receiving the Wheaton Fellowship in 1995, he moved to New York City to take on a teaching position at the Urban Glass facility. That year, he joined the New York based performance group, the B Team, which went on to receive a Tiffany Grant and later a Bessie award for site-specific performance. In 1997, Snyderman founded the gallery R 20th Century with fellow B Team member Zesty Meyers. R 20th Century is widely credited with helping fuel the resurgence of interest in modern and contemporary design and is dedicated to preserving the work of this period. While running a curated exhibition program at the gallery, Snyderman also develops exhibitions throughout America, Europe, South America, and Asia. Snyderman is currently working on major publications and exhibitions about Brazilian midcentury masters and Wendell Castle.

Brett Littman is Executive Director of The Drawing Center.

E D WA R D H A L L A M T U C K P U B L I C AT I O N P R O G R A M

This is number 81 of the Drawing Papers, a series of publications documenting The Drawing Center’s exhibitions and public programs and providing a forum for the study of drawing.

Jonathan T. D. Neil Executive Editor Joanna Berman Ahlberg Managing Editor Designed by Peter J. Ahlberg / AHL & COMPANY This book is set in Adobe Garamond Pro and Berthold Akzidenz Grotesk.

It was printed by BookMobile in Minneapolis, Minnesota.

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Drawing Papers 80 Kathleen Henderson: What if I Could Draw a Bird that Could Change the World?

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