Pair of Milo Baughman Storage Ottomans with Jack Lenor Larsen Upholstery

Jack Lenor Larsen was a celebrated American mid-century modern textile designer born in Seattle. He fostered connections throughout the design and architecture industries beginning in 1950, and today, his influential eponymous design company is widely recognized for its muted hand-spun textured textiles. Larsen manufactured fabrics all over the world for more than six decades, using both traditional and modern weaving techniques.

Larsen initially studied in the architecture program at the University of Washington before he quickly realized he was instead interested in furniture design and interiors. He earned his MFA in 1949 from the Cranbrook Academy of Art — the go-to art school for design stars of the mid-20th century. The following year he moved and opened a studio in New York City where he launched his career. 

For one of his first commissions, which was to design curtains for the Lever House — a New York City icon designed by Gordon Bunshaft and Natalie de Blois — Larsen created a linen and gold metal-themed weave to complement the building’s famed glass walls. He designed similarly magnificent textiles for the Phoenix Opera House, the Wolf Trap Theater and more.

Nowhere is Larsen’s profound impact on textile design more evident than at LongHouse Reserve, his house in East Hampton, New York. Modeled after a seventh-century Shinto Shrine, the home and its surrounding sculpture gardens opened to the public in 1992. 

Larsen built LongHouse Reserve in collaboration with Charles Forberg. The property features sliding panels that showcase the revered artisan’s fabrics as well as works by Lucie Rie, Wharton Esherick, and Edward Wormley. The gardens feature sculptures by Willem de Kooning, Sol LeWitt and Yoko Ono.

Larsen had a solo exhibit at the Louvre in 1981. His work is held in the permanent collections of the Museum of Modern Art in New York, the Art Institute of Chicago and the Victoria and Albert Museum in London. 

Find vintage Jack Lenor Larsen lounge chairs, sofas, and dining room chairs on 1stDibs.

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, such as chairs, sofas and benches. He had 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. He 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 seating 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 are emblematic of the 1970s: sleek, sure and scintillating.

As you will see from the furniture presented on 1stDibs, Milo Baughman’s designs for the likes of Drexel Furniture, Glenn of California and — for five decades — Thayer Coggin are ably employed as either the heart of a décor or its focal point.