Vintage Christian Dior Umbrella

Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.

ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN

• Emerged during the mid-20th century 
• Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
• A heyday of innovation in postwar America 
• Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

• Simplicity, organic forms, clean lines  
• A blend of neutral and bold Pop art colors 
• Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood 
• Light-filled spaces with colorful upholstery 
• Glass walls and an emphasis on the outdoors 
• Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

• Charles and Ray Eames
• Eero Saarinen
• Milo Baughman
• Florence Knoll
• Harry Bertoia 
• Isamu Noguchi 
• George Nelson 
• Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

• Eames lounge chair
• Nelson daybed
• Florence Knoll sofa
• Egg chair
• Womb chair
• Noguchi coffee table
• Barcelona chair

VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS

The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.

Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively. 

Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer. 

Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.

The Risom lounge chair was among the first pieces of furniture commissioned and produced by celebrated manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.

As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.

Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.

Generations turn over, and mid-century modern remains arguably the most popular style going. As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.

When it’s raining, you’re going to need an umbrella, and that wet umbrella is going to need a home. In the range of vintage, new and antique umbrella stands on 1stDibs, find patio umbrella stands made for the outdoors and luxury iterations intended to pair with your coat rack and add a dose of character to your entryway.

Modern umbrellas originated as parasols or sunshades for the upper classes in Ancient Egypt, Ancient India and elsewhere, with the accessory undergoing significant improvements, which included waterproofing, in China thereafter. The Chinese created collapsible accessories and applied wax and lacquer to paper parasols, which repelled rain during thunderstorms. As umbrellas saw widespread adoption over the years, we suddenly needed a place to put them.

African-American inventor William C. Carter of Cincinnati, Ohio, patented the first umbrella stand in 1885. His receptacle featured horizontal crossbars with hinged ends that allowed for umbrellas to be spring-locked into place. Carter hoped his idea would prevent theft of umbrellas and canes as well as present an orderly solution for storing them. It could hold more than one umbrella and contained a drip pan to catch rainwater. Today, antique umbrella stands are rich components of home decor — they’re among the first furnishings you see when you enter someone’s house or apartment — and those stemming from Carter’s day are precious collector’s items.

While preliminary umbrella stands were simple (no more than two posts and a rack to hold several umbrellas), furniture makers embellished their interpretations, adding decorative flourishes and improving upon its features over time.

On 1stDibs, a collection of antique 19th-century umbrella stands includes structures made of oak, walnut and more. There are understated Victorian-era umbrella stands made of brass that comprise little more than four tubular metal supports and cast-iron drip pans, while iterations dating from the same era made from mahogany feature distinctive hand-carvings on their side panels or ornate finials. If they’re not cast-iron umbrella stands, a (sometimes removable) cast-iron drip pan at the very least is a fairly consistent characteristic of the stands of the era.

Mid-century modern furniture designers explored venturesome forms and worked with a variety of materials to craft their umbrella stands, integrating metals such as aluminum and introducing glass and even marble to these pieces. Umbrella stands crafted by contemporary furniture makers often depart from their historical counterparts. While a sampling of today’s iterations demonstrate that creators are making umbrella stands in a variety of shapes and sizes, they’re frequently embodying clean lines and minimalist flourishes, which are perhaps a good fit if you don’t intend for your rack to stand out in your foyer or entryway.

If you’re looking to make a statement with your patio umbrella stand or the piece you’re intending to keep indoors, a vintage ceramic umbrella stand will introduce a pop of color or a dazzling texture to your doorstep or to the neutral color palette that characterizes your entryway.

While umbrella stands have seen an evolution of design over the years, their usefulness hasn’t changed a bit. Browse a collection of antique, new and vintage umbrella stands today on 1stDibs.