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Denmark has a long tradition of producing some of the most acclaimed furniture designers of the 20th century. Johannes Andersen is no exception — his name is synonymous with mid-century modern design. He elevated Scandinavian modernism’s prioritization of practicality and space conservation to new heights and worked with luxurious woods like teak, mahogany and rosewood for a range of designs that merged grace and function.

After completing his cabinetmaker apprenticeship in his early 20s, Andersen began to design for several furniture makers, including CFC Silkeborg and Trensum. A few years later, he opened his own workshop and enjoyed success from the outset. Free of the constraints of working under another studio, Andersen quickly developed his own, distinctive style that drew on Danish functionalism and human-centered design.

After the end of World War II, Andersen noticed the worldwide postwar consumption boom and the burgeoning interest in Scandinavian modern design. He took full advantage of this and began to sell his shapely and eye-pleasing tables, chairs and sideboards to markets outside of Denmark. Other Scandinavian manufacturers took notice of Andersen’s work, which led to many successful, career-long collaborations for the furniture maker.

Like Finn Juhl and Alvar Aalto, Andersen was deeply drawn to organic shapes and flowing lines. He transformed furniture’s traditionally square or rectangular panels and surfaces — like the tops of coffee tables and seat-backs of dining room chairs — into imaginative half-moons with rounded corners, beveled edges and fluid contours. His unexpected use of curves is the highlight of his sleek Capri line for Trensum and can be found in his comfortable saddle-shaped Allegra bar stool and playful but elegant Smile coffee table, which sports an anthropomorphic grin in the slot intended to hold magazines.

Andersen wanted his furniture to be compact — he experimented with reducing the footprints of bulky furniture, and his simple, iconic credenzas, sideboards and folding bar cabinets were born. These and other vintage Johannes Andersen furnishings are in high demand today by collectors and mid-century modern enthusiasts all over the world.

On 1stDibs, find a wide range of Johannes Andersen tables, seating, cabinets and other furniture.

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.

The name “dry bar” can be a bit of a misnomer. After all, the last thing you would want a bar to do is run dry. In this case, the “dry” descriptor in your antique or vintage dry bar doesn’t refer to a lack of drinks. Instead, it serves to differentiate dry-bar furniture from wet-bar installations. The latter is typically a permanent fixture in a home, requiring plumbing to support a built-in sink.

In short, a dry bar is a piece of furniture or tabletop area that you’ve built into your space for mixing cocktails and storing everything needed —bottles, barware and other accessories — for the intoxicating in-home bar you’ve designed.

Some dry bars were built with minimalism in mind. Those crafted by designers associated with mid-century modernism or Scandinvanian modern, for example, likely looked to these as practical furnishings to serve as a cabinet or case piece. But there have been decorative and even outwardly sculptural interpretations by Art Deco furniture makers and those working in the Hollywood Regency style over the years.

No matter what kind of antique, new or vintage dry bar fits your space, these versatile furnishings can definitely elevate your home bar area as well as your hosting. We’ll toast to that!

Find your dry bar as well as all the barware you need on 1stDibs.