T.H. Robsjohn Gibbings for Baker End Table

British-born designer, interior decorator and author T.H. Robsjohn-Gibbings (1905–76) was one of the great American tastemakers in the middle decades of the 20th century. Much like Edward Wormley, Robsjohn-Gibbings was a design classicist by education and inclination, but he would come to create some of the most gracious and livable modern furnishings of the era.

Robsjohn-Gibbings studied architecture at the University of London, then held various jobs that included designing décors for passenger liners and working as the art director of a film studio. In the early 1930s, while employed by the upper-crust interior designer Charles J. Duveen, Robsjohn-Gibbings experienced an epiphany during a visit to the British Museum. Examining the furniture depicted on ancient Greek ceramics — lithe stools and klismos chairs — he realized that he had found a design touchstone. By 1936, he had moved to New York and set up a showroom on Madison Avenue for his modern reinterpretations of classic Greek designs. Aided by contacts he’d developed while working with Duveen, he quickly established a clientele that included Elizabeth Arden, Doris Duke and Thelma Chrysler Foy.

Through his writings for magazines and books, Robsjohn-Gibbings earned a public following and was established as an urbane arbiter of taste. From 1943 to 1956, he produced an understated line of modernist furnishings for Widdicomb, which included one of the icons of the period: the tiered, biomorphic Mesa coffee table (1951). Robsjohn-Gibbings moved to Athens, Greece, in 1966, and created a new line of antiquity-inspired pieces for the firm Saridis. The series turned out to be his swan song.

Collectors’ interest in Robsjohn-Gibbings was reignited in the 1980s, when the 200-plus pieces from his 1936–38 commission for the Bel-Air estate of Los Angeles socialite Hilda Boldt Weber — pared-down neoclassical pieces rendered in blond wood (with the occasional flourish) — came on the market. (Up until then, the collection had remained in the house, despite its having changed hands several times.) 

But his work for Widdicomb remains his most widely known, appreciated for its elegance and generous proportions. Robsjohn-Gibbings despised the stern aesthetic associated with his Bauhaus contemporaries, and a keynote of his modernist pieces is that they have no sharp angles. His chair and sofa frames, table legs and even many cabinets feature softly contoured edges. In whatever styled he designed, Robsjohn-Gibbings was guided by simplicity and timelessness. He wanted his furniture to be lived with happily.

Owing to the company’s collaborations with many leading designers and artists over time, vintage Baker furniture is consistently sought after today. The heritage brand’s chairs, dining tables, desks and other pieces are widely known to collectors and design enthusiasts for their fine craftsmanship and durability.

Within a few decades of its launch, Baker Furniture Company evolved into one of the largest and most important furniture manufacturers in the United States, and became known for its high-quality production standards. Siebe Baker and business partner Henry Cook founded the original iteration of Baker Furniture Company in 1890 in Allegan, Michigan, after immigrating to the United States from the Netherlands. Allegan is a small town west of Grand Rapids, which, at that time was home to Widdicomb Furniture Co. and more and was known as America’s furniture capital. The company manufactured doors and interior moldings, and introduced a combination desk and bookcase in 1893. In the early 1900s, Siebe became sole owner of the business.

Among others, stage designer Joseph Urban and modernist designer Kem Weber contributed designs to Baker in the 1920s. In 1932, under the leadership of Siebe’s son, Hollis, who started at the company as a salesman but took the reins when his father passed in 1925, Baker Furniture introduced bedroom pieces and debuted its Manor House collection, which made reproductions of European furnishings available to the American market. (Hollis was an avid traveler and procured antiques overseas for the company to reproduce in the United States.) Soon, Baker Furniture Company moved to Holland, Michigan, and eventually opened showrooms in Grand Rapids and elsewhere.

Pioneering Scandinavian designer Finn Juhl created a Danish modern line for Baker in 1951, and the company produced his award-winning Chieftain chair for a short time. In the late 1950s, Baker introduced the Milling Road label to reach a younger audience with stylish but less costly furnishings like console tables, walnut dining chairs and more, and in 1961, British furniture designer T.H. Robsjohn-Gibbings introduced a modern neoclassical line at Baker.

The 1960s and ’70s saw the introduction of historic reproduction furniture lines such as Woburn Abbey and the Historic Charleston collection, which remain very popular to this day. In 1990, Baker was licensed to produce a furniture line from Colonial Williamsburg. That same year, the Smithsonian Museum introduced Baker’s Chippendale chair into its permanent collection and the Grand Rapids Art Museum dedicated an exhibition to Baker’s 100-year anniversary, a showcase that included 150 pieces of furniture Siebe Baker had collected as part of a larger assortment that had served as inspiration for his designs.

Today, vintage Baker furniture, such as its elegant mahogany nightstands and teak credenzas — particularly those crafted by Finn Juhl — sees high demand online and elsewhere. The company continues to produce contemporary collections with well-known designers such as Bill Sofield, Barbara Barry and Kara Mann and remains on par with some of the highest quality furniture in the industry.

Browse vintage Baker armchairs, sofas, coffee tables and more on 1stDibs.