Description
Brilliant simplicity and captivating exotic materials intersect on this Milo Baughman zebra wood credenza. Made by Thayer Coggin circa 1970s. The spare form rejects decorative embellishments, allowing the zebra wood veneer to dazzle the eye. The cabinet sits on a black plinth base, but is also designed to be wall-mounted if preferred. Simply demount the screwed-on base, attach the cleat (included) to the wall and hang the credenza at the desired height. One adjustable shelf in each of the two open cabinet spaces.
Overall the condition of the zebra wood credenza is excellent. However, the top has areas of slightly bubbled veneer (see pic) only visible at certain angles and lighting environments. We have priced this piece accordingly and encourage interested buyers to reach out with questions or concerns.
Milo Baughman was one of the most agile and adept modern American furniture designers of the late 20th century. A prolific lecturer and writer on the benefits of good design — he taught for years at Brigham Young University — Baughman (whose often-scrambled surname is pronounced BAWF-man) focused almost exclusively on residential furnishings, having a particular talent for lounge chairs, perhaps the most sociable piece of furniture.
Like his fellow adoptive Californians Charles and Ray Eames, Baughman’s furniture has a relaxed and breezy air. Baughman was famously opposed to ostentatious and idiosyncratic designs that were made to excite attention. While many of his chair designs are enlivened by such effects as tufted upholstery, Baughman tended to let his materials carry the aesthetic weight, most often relying on chair and table frames made of sturdy and sleek flat-bar chromed metal, and chairs, tables and cabinets finished with highly-figured wood veneers.
Like his colleagues Karl Springer and the multifarious Pierre Cardin, Baughman’s designs for Thayer Coggin are emblematic of the 1970s: sleek, sure and scintillating. As you will see from the furniture presented on these pages, Milo Baughman’s designs are ably employed as either the heart of a décor or its focal point. Thayer Coggin understood and shared his vision.
