D Dickinson Pottery

Toshiko Takaezu was an American ceramic artist and painter. She was born to Japanese immigrant parents in Pepeekeo, Hawaii, in 1922. She studied at the Honolulu Museum of Art and the University of Hawaii under Claude Horan from 1948–51. From 1951–54, Takaezu continued her studies at Cranbrook Academy of Art in Bloomfield Hills, Michigan, where she befriended Finnish ceramist Maija Grotell, who became her mentor. In 1955, Takaezu traveled to Japan, where she studied Buddhism, visited Shoji Hamada and observed the techniques of traditional Japanese pottery, which continue to influence her work. She taught for 10 years at the Cleveland Institute of Art, and then from 1967–92, she taught at Princeton University, where she was awarded an honorary doctorate. She retired in 1992 to become a studio artist, living and working in Quakertown, New Jersey, about 30 miles northwest of Princeton. In addition to her studio in New Jersey, Takaezu made many of her larger sculptures at Skidmore College in Saratoga Springs, New York. She made functional wheel-thrown vessels early in her career. Later, she switched to abstract sculptures with freely applied poured and painted glazes. In the early 1970s, when Takaezu didn’t have access to a kiln, she painted on canvas. Her work is part of the permanent collections at the Museum of Fine Arts, Boston, the Smithsonian American Art Museum, Washington, D.C. and the Metropolitan Museum of Art, New York, among many others. Takaezu was the recipient of the Gold Medal of the American Craft Council and a Louis Comfort Tiffany Foundation grant. She lived in Hawaii for 10 years and died March 9, 2011, in Honolulu.

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 legendary 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.

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.

Folk art refers to a genre of art that shares the creator’s traditions, offering not just an artistic display but an opportunity to learn about a culture. Vintage, new and antique folk art typically reflects a heritage or location. It can include utilitarian objects and handmade art as diverse as weather vanes, portraiture and paintings, carnival art, quilts and duck decoys.

American folk art is frequently valued because of the traditional skills involved, like weaving, hand-carving wood and even stonework. Many folk artists are self-taught, while some train as apprentices within their community. By using available materials and taking a personal approach to their creations, artists ensure each piece is unique and conveys a story. Native American folk art includes functional objects reflecting their heritage, such as baskets, textiles and wooden pieces.

During the Great Depression, artistic materials in America were hard to come by, so artisans used discarded wood from cigar boxes and shipping crates to make highly stylized, notched pieces — most often picture frames and boxes — that are today sought after by collectors. This folk art style is called tramp art and was popular from roughly 1870 until the 1940s.

Folk art brings vibrant culture and traditions into your home. Browse an extensive collection of folk art on 1stDibs.