Vladimir Kagan Ribbon Credenza

The pioneers of modern furniture design in America in the mid-20th century all had their moments of flamboyance: Charles and Ray Eames produced the startling, biomorphic La Chaise; George Nelson’s firm created the Marshmallow sofa; Edward Wormley had his decadent Listen to Me chaise. But no designer of the day steadily offered works with more verve and dynamism than Vladimir Kagan. While others, it seems, designed with suburban households in mind, Kagan aimed to suit the tastes of young, sophisticated city-dwellers. With signature designs that feature sleekly curved frames and others that have dramatic out-thrust legs, Kagan made furniture sexy.

Kagan’s father was a Russian master cabinetmaker who took his family first to Germany (where Vladimir was born) and then to New York in 1938. After studying architecture at Columbia University, Kagan opened a design firm at age 22 and immediately made a splash with his long, low and sinuous Serpentine sofa. Furniture lines such as the Tri-symmetric group of glass-topped, three-legged tables and the vivacious Contours chairs soon followed.

Kagan’s choices of form and materials evolved through subsequent decades, embracing lucite, aluminum and burl-wood veneers. By the late 1960s, Kagan was designing austere, asymmetrical cabinets and his Omnibus group of modular sofas and chairs. For all his aesthetic élan, Kagan said that throughout his career, his touchstone was comfort. “A lot of modern furniture was not comfortable. And so comfort is: form follows function. The function was to make it comfortable,” he once commented. “I created what I called vessels for the human body.”

A diverse group of bodies have made themselves at home with Kagan designs. Among the famous names who commissioned and collected his designs are Marilyn Monroe, Gary Cooper, Andy Warhol, David Lynch, Angelina Jolie and Brad Pitt, and firms such as Gucci and Giorgio Armani. His work is in numerous museum collections, including those of the Victoria Albert and the Metropolitan Museum of Art.

Because of its idiosyncrasy, Kagan’s work did not lend itself to mass-production. Kagan never signed on with any of the major furniture-making corporations, and examples of his designs are relatively rare. As you will see from the offerings on 1stDibs, even decades after their conception, Kagan pieces still command the eye, with their freshness, energy, sensuality and wit.

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.

Antique, new and vintage Lucite furniture has been on design editors’ radars for several seasons now, but thanks to a renewed interest in Lucite coffee tables, chairs and other pieces from the late 1960s and ’70s, the trend has reached fever pitch.

“I think there’s a freshness and cleanness to it,” says Fawn Galli, an interior designer based in New York. Not only is Lucite, or transparent plastic, practical, since it can work in nearly any environment, it’s incredibly stylish.

Some of the most acclaimed furniture designers share the same love for Lucite as an effective and practical material for use in any interior.

“I think there’s something really nice about the simplicity of anything Lucite or acrylic — it feels lightweight,” says Tamara Eaton, whose eponymous firm deftly balances traditional and modern designs. Even in the most historical setting, “you can still introduce some Lucite or something kind of lightweight and not have it feel like a distinct interjection, but a playful one that’s more about the shape,” she says.

For the living room in a mid-century modern townhouse in Park Slope, Brooklyn, Eaton chose a pair of box-shaped Lucite tables with copper handles from Jamie Dietrich. “We didn’t want anything to be too heavy, and that area was a place where [the family] would sometimes move those tables so the kids could play,” she says. The tables doubled as snack trays since the kitchen is nearby. “They have this transportable feel to them that I think was really fun.”

Browse a range of antique, new and vintage Lucite side tables, table lamps and other furniture now on 1stDibs.

Antique and vintage credenzas can add an understated touch of grace to your home. These long and sophisticated cabinet-style pieces of furniture can serve a variety of purposes, and they look great too.

In Italy, the credenza was originally a small side table used in religious services. Appropriately, credere in Italian means “to believe.” Credenzas were a place to not only set the food ready for meals, they were also a place to test and taste prepared food for poison before a dish was served to a member of the ruling class. Later, credenza was used to describe a type of versatile narrow side table, typically used for serving food in the home. In form, a credenza has much in common with a sideboard — in fact, the terms credenza and sideboard are used almost interchangeably today.

Credenzas usually have short legs or no legs at all, and can feature drawers and cabinets. And all kinds of iterations of the credenza have seen the light of day over the years, from ornately carved walnut credenzas originating in 16th-century Tuscany to the wealth of Art Deco credenzas — with their polished surfaces and geometric patterns — to the array of innovative modernist interpretations that American furniture maker Milo Baughman created for Directional and Thayer Coggin.

The credenza’s blend of style and functionality led to its widespread use in the 20th century. Mid-century modern credenzas are particularly popular — take a look at Danish furniture designer Arne Vodder’s classic Model 29, for instance, with its reversible sliding doors and elegant drawer pulls. Hans Wegner, another Danish modernist, produced strikingly minimalist credenzas in the 1950s and ’60s, as did influential American designer Florence Knoll. Designers continue to explore new and exciting ways to update this long-loved furnishing.

Owing to its versatility and familiar low-profile form, the credenza remains popular in contemporary homes. Unlike many larger case pieces, credenzas can be placed under windows and in irregularly shaped rooms, such as foyers and entryways. This renders it a useful storage solution. In living rooms, for example, a credenza can be a sleek media console topped with plants and the rare art monographs you’ve been planning to show off. In homes with open floor plans, a credenza can help define multiple living spaces, making it ideal for loft apartments.

Browse a variety of antique and vintage credenzas for sale on 1stDibs to find the perfect fit for your home today.