62 Sideboard (6 Drawers)

$10,999

Designed in 1952 by Greta M. Grossman, the 62 sideboard illustrates the designer’s penchant for exceptional shapes and unusual pairing of materials. The slender metal legs with ball-shaped feet contrast the sharp rectangular shape in luxurious American walnut. Adding to its elegance, the sideboard has a black-gloss finish on the tabletop.

Dimensions160cm L x 45cm D x 72cm H

MaterialsSemi Matt Lacquered American Walnut. Black-Gloss Laminate Top and Cupboard. Black Semi-Matt Lacquered Legs

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About the Brand: GUBI

GUBI is the global design house where timeless modern icons and the creative talents of today meet and mingle – a century of design brilliance in one daring, definitive, and ever-evolving collection.

Positioned at the point where the beauty of history meets the thrill of right now, GUBI is the creative force and curator behind the world’s most extraordinary design from the 20th century onwards. Whether diving into archives or driving the designs of today, GUBI is responsible for a timeless, inventive, and intercontinental collection of furniture, lighting and interior objects that merge function with meaning, enhancing every space.

As well as rediscovering and reintroducing lost treasures of design history for the present generation, GUBI collaborates with a hand-picked global roster of visionary design studios to create icons for tomorrow. Inspired by the past, always looking to the future, GUBI makes and shares stories that resonate with design lovers around the world, inspiring moments and memories to treasure.

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About the Designer: Greta M Grossman

Greta Magnusson Grossman (1906-1999) maintained a prolific forty-year career on two continents: Europe and North America, and operated as mover and shaker in the male dominated world of mid-century modern design. Grossman's achievements were many and encompassed industrial design, interior design and architecture. The postwar creative climate was highly receptive to new ideas in architecture and design, and Grossman’s unique approach to Swedish modernism was a hit in Los Angeles. For her, good design was fundamentally humanistic; its role was to support people’s daily lives in a relevant and engaging way, and personal and social wellbeing were key considerations.
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