The Omni-Designer
May 2007
Regard for László’s work parallels the rising interest in mid-century Modernism that is evident in
the hugely popular annual Modernism shows in New York, Los Angeles and Miami. In May 2005, L.A. Modern Auctions sold the furnishings of a major László installation—the Prineville, Oregon, estate of John and Floreine Hudspeth, 12,000 square feet designed, decorated and furnished by the designer in 1952. The 108 lots in the sale set a László record, bringing $880,957 against an estimate of $256,200 to $365,500. (The contents were valued at $175,000 in 1952.)
Not surprisingly, László’s reputation has been strongest on the West Coast and stronger in the United States than abroad, according to Philippe Garner, Christie’s international head of 20th-century decorative art and design and the author of Twentieth-Century Furniture (Van Nostrand Reinhold, 1980). Garner points out that while László “is well-respected by an American audience as an exciting talent within the story of 20th-century design, his work is not so well-known or appreciated internationally.” Blame that lacuna on the brevity of László’s career in Europe.
The situation may be changing, though, as trend-setting galleries stage successful László exhibitions that attract overseas buyers. Last year, Donzella 20th Century mounted a large show of important pieces—its second in a decade—featuring furniture never before seen on the market.
Of the 50 pieces on view, half came directly from the personal holdings of the designer’s son, Peter, an avid collector of his father’s work. Over the years Peter László had accumulated a substantial body of custom pieces, buying back from clients when he could and acquiring some from his mother, who also had a cache. “The show was a success, and a great many of the pieces sold quickly,” says Donzella, noting that “about 25 percent went to Europe.”
László once said, “I don’t try to design look-at-me houses. I try to give the modern style an ageless importance, to be ahead of my time and yet build a comfortable home.” Today’s collectors think that’s exactly what he did.
Roberta S. Maneker, an Art & Antiques New York correspondent for 10 years, has held executive positions at Christie’s and Phillips de Pury & Company. She recently reported on the “100 Top Collectors Who Are Making a Difference” (March 2007).
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Fish-shaped table, solid wood |
Not surprisingly, László’s reputation has been strongest on the West Coast and stronger in the United States than abroad, according to Philippe Garner, Christie’s international head of 20th-century decorative art and design and the author of Twentieth-Century Furniture (Van Nostrand Reinhold, 1980). Garner points out that while László “is well-respected by an American audience as an exciting talent within the story of 20th-century design, his work is not so well-known or appreciated internationally.” Blame that lacuna on the brevity of László’s career in Europe.
The situation may be changing, though, as trend-setting galleries stage successful László exhibitions that attract overseas buyers. Last year, Donzella 20th Century mounted a large show of important pieces—its second in a decade—featuring furniture never before seen on the market.
Of the 50 pieces on view, half came directly from the personal holdings of the designer’s son, Peter, an avid collector of his father’s work. Over the years Peter László had accumulated a substantial body of custom pieces, buying back from clients when he could and acquiring some from his mother, who also had a cache. “The show was a success, and a great many of the pieces sold quickly,” says Donzella, noting that “about 25 percent went to Europe.”
László once said, “I don’t try to design look-at-me houses. I try to give the modern style an ageless importance, to be ahead of my time and yet build a comfortable home.” Today’s collectors think that’s exactly what he did.
Roberta S. Maneker, an Art & Antiques New York correspondent for 10 years, has held executive positions at Christie’s and Phillips de Pury & Company. She recently reported on the “100 Top Collectors Who Are Making a Difference” (March 2007).
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