Aubock Garderobe

In Vienna’s Neubau district, a beautiful Biedermeier townhouse has been home to the Werkstätte Carl Auböck for more than 100 years. Inside the workshop, where production continues to this day, countless objects line the shelves, walls, tabletops and desktops.

The Viennese artist and designer Carl Auböck II was one of the quirkiest and most delightful and collectible of modern designers. A rather odd duck in the world of decorative arts, he was a peculiar talent whose specialties included smaller desk accessories and tabletop pieces such as corkscrews, paperweights, letter openers, bookends and bottle stoppers. He rendered these pieces in a combination of metal — most often brass — and such elemental materials as leather, knobby wood and animal horn, creating forms that could be almost Surrealist, from hands and feet to keys, birds and amoebae.

As a boy, Auböck was precocious and artistic. He studied drawing and at the same time trained in the workshop of his father, Karl Heinrich Auböck, a popular maker of traditional bronze figurines and collectibles. In 1919, Carl II went to Germany to study at the Bauhaus, where he was a pupil of the progressive artist and theorist Johannes Itten. While the Bauhaus is most associated with the rigidly ordered, functionalist architecture of its directors Walter Gropius and Ludwig Mies van der Rohe, the school was in reality a liberal, spirited place — a crucible for imaginative, playful and avant-garde art and design. It was this spirit that imbued Carl II’s work from the time he left in 1921.

In 1922 or ’23, Carl Auböck II returned to Vienna to help care for his ailing father, and he took over the business. He created the Werkstätte Carl Auböck and a legacy that earned his objects cult status among collectors. The business was passed on to his descendants, who run the atelier that is still in operation today. Today, objects designed by Carl II make up 90 percent of Werkstätte Carl Auböck’s production, joined by the creations of architect and designer Carl IV, his grandson.

Vintage Auböck designs have a special character, a patina that only emphasizes how much the pieces have been loved and used. Carl Aubock II’s small furniture items — leather- or caned-sling magazine racks; free-edge wooden side tables with tubular bronze legs; wicker serving trolleys with turned beechwood wheels — are elegant and purposeful. His bijoux desktop objects, library tools, ashtrays and barware pieces evince a kind of mirthful practicality. They seem to ask: “If you need a corkscrew, or a paperweight, or a candlestick, why not make it fun as well as functional?” And indeed, why not?

Find a collection of vintage Werkstätte Carl Auböck mirrors, seating, tables, decorative objects and other furniture on 1stDibs.

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.

Whether burnished or lacquered, antique, new and vintage brass furniture can elevate a room.

From traditional spaces that use brass as an accent — by way of brass dining chairs or brass pendant lights — to contemporary rooms that embrace bold brass decor, there are many ways to incorporate the golden-hued metal.

“I find mixed metals to be a very updated approach, as opposed to the old days, when it was all shiny brass of dulled-out silver tones,” says interior designer Drew McGukin. “I especially love working with brass and blackened steel for added warmth and tonality. To me, aged brass is complementary across many design styles and can trend contemporary or traditional when pushed either way.”

He proves his point in a San Francisco entryway, where a Lindsey Adelman light fixture hangs above a limited-edition table and stools by Kelly Wearstler — also an enthusiast of juxtapositions — all providing bronze accents. The walls were hand-painted by artist Caroline Lizarraga and the ombré stair runner is by DMc.

West Coast designer Catherine Kwong chose a sleek brass and lacquered-parchment credenza by Scala Luxury to fit this San Francisco apartment. “The design of this sideboard is reminiscent of work by French modernist Jean Prouvé. The brass font imbues the space with warmth and the round ‘portholes’ provide an arresting geometric element.”

Find antique, new and vintage brass tables, case pieces and other furnishings now on 1stDibs.

When shopping for antique and vintage wardrobes and armoires for your home, there are several things to keep in mind, not least of which is question number 1:

What is the difference between an armoire and a wardrobe?

The difference between an armoire and a wardrobe is actually simple: An armoire is merely an ornate wardrobe. A wardrobe is a tall, streamlined storage cabinet that usually has some combination of drawers, shelves and hanging rods.

Antique and vintage armoires, on the other hand, are freestanding, heavy wooden structures that typically feature decorative metal hinges and pictorial carvings. Armoires are large cabinets that aren’t outfitted with the varied storage features that wardrobes now commonly have. Armoires often have one or two doors and a hanging bar and allow for quick access. Whether a minimalist mid-century modern wardrobe or grandiose Victorian-era armoire is the right fit for you, both are highly functional furnishings and can be a smart storage solution.

Armoires have been around since medieval times, and initially they may have housed weapons and armor. In their early days, armoires were often adorned with elaborate carvings and lavish paintings, particularly in Renaissance-era France. During the 18th century and later, armoires were widely known as “presses” for hanging clothes, and they were so large that they swallowed up the room where they stood.

In today’s modern homes, an antique armoire can be a striking, architectural work of art amid comparably unadorned furnishings. Whether you’re using your piece in the kitchen for cookware or as a food pantry, in the bedroom for clothes or in the living room as a media console, it will likely become a lovable focal point.

The evolution of the armoire can be seen in today’s corner wardrobes, which may rest on an asymmetrical base to account for corner placement, and even mirrored wardrobes, which feature a mirror affixed to the inside panel of one of the doors for convenience. Contemporary wardrobes commonly feature additional sliding trays and drawers and hanging space for clothing or linens, and the cabinet doors make them ideal for concealing televisions and computer monitors when such devices aren’t in use.

When choosing the right wardrobe or vintage armoire for your home, it’s good to have the following in mind: What are you planning to store in it? How much of what you’re storing will need to be housed in it? It should be big enough to accommodate your needs. What is the size of the room where your wardrobe or armoire will live? A large new piece of furniture in a modest space can easily become a hindrance if you have to navigate your way around it during your daily routine, so be mindful of the area you'll need in order to move freely.

Whether you are looking for an antique walnut armoire or a simple contemporary wardrobe, find the right piece for your home today on 1stDibs.