Consider it the ultimate royal seal of approval: When the young Linley founder, David Linley, made a decorative box as a teenager — a project he’d crafted at Bedales School that impressed his teacher — it was proudly passed around as a cigar box at parties by the Queen Mother. Of course, the royal treatment makes a bit more sense when you consider that the Queen was simply grandmother to the future furniture designer Linley, formally David Albert Charles Armstrong-Jones, second earl of Snowdon, son of Princess Margaret and photographer Antony Armstrong-Jones.

Born in London, Linley was creative from an early age — a characteristic eagerly encouraged at home with his parents and at Kensington Palace with the extended family. After completing his studies in carpentry and design at Parnham House in 1982, Linley set up his first studio. Within three years he had moved to King’s Road in Chelsea and, with his friend painter and designer Matthew Rice, officially cofounded Linley, a source for luxury furniture and accessories and bespoke carpentry and millwork.

The brand was a quick success. When Linley presented its first line at Christie’s in 1985 — a collection of furniture and more called “Venetian,” which was inspired by the Italian city’s grandiose Gothic architecture — the entire lot sold out on the day of its presentation. Besides Linley the brand being a commercial success, Linley the founder was somewhat of a marvel: At the time, the designer was the first of the royal family to undertake any sort of vocational work, let alone establish their own brand.

David Linley’s furniture has become known over the years for its fine craftsmanship, detailed marquetry and inlay and use of rare and exquisite woods. His tables, seating, other furnishings and decorative objects owe consistently to traditional methods and conventions as often as they do clean modernity. The designer has long looked to Chippendale furniture as well as other styles that gained prominence during the 18th century as much as he has toward the future.

Now, in addition to its furniture, accessories and custom millwork, Linley operates an interior design business, outfitting homes (and a few cars and yachts) in the brand’s singularly chic style. And while the company’s output is marked by style, craftsmanship still comes first: “I’m a maker, not a designer,” the earl once proclaimed.

Find a collection of David Linley furniture on 1stDibs.

A Close Look at Modern Furniture

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

Finding the Right Armchairs for You

Armchairs have run the gamut from prestige to ease and everything in between, and everyone has an antique or vintage armchair that they love.

Long before industrial mass production democratized seating, armchairs conveyed status and power.

In ancient Egypt, the commoners took stools, while in early Greece, ceremonial chairs of carved marble were designated for nobility. But the high-backed early thrones of yore, elevated and ornate, were merely grandiose iterations of today’s armchairs.

Modern-day armchairs, built with functionality and comfort in mind, are now central to tasks throughout your home. Formal dining armchairs support your guests at a table for a cheery feast, a good drafting chair with a deep seat is parked in front of an easel where you create art and, elsewhere, an ergonomic wonder of sorts positions you at the desk for your 9 to 5.

When placed under just the right lamp where you can lounge comfortably, both elbows resting on the padded supports on each side of you, an upholstered armchair — or a rattan armchair for your light-suffused sunroom — can be the sanctuary where you’ll read for hours.

If you’re in the mood for company, your velvet chesterfield armchair is a place to relax and be part of the conversation that swirls around you. Maybe the dialogue is about the beloved Papa Bear chair, a mid-century modern masterpiece from Danish carpenter and furniture maker Hans Wegner, and the wingback’s strong association with the concept of cozying up by the fireplace, which we can trace back to its origins in 1600s-era England, when the seat’s distinctive arm protrusions protected the sitter from the heat of the period’s large fireplaces.

If the fireside armchair chat involves spirited comparisons, your companions will likely probe the merits of antique and vintage armchairs such as Queen Anne armchairs, Victorian armchairs or even Louis XVI armchairs, as well as the pros and cons of restoration versus conservation.

Everyone seems to have a favorite armchair and most people will be all too willing to talk about their beloved design. Whether that’s the unique Favela chair by Brazilian sibling furniture designers Fernando and Humberto Campana, who repurposed everyday objects to provocative effect; or Marcel Breuer’s futuristic tubular metal Wassily lounge chair; the functionality-first LC series from Charlotte Perriand, Le Corbusier and Pierre Jeanneret; or the Eames lounge chair of the mid-1950s created by Charles and Ray Eames, there is an iconic armchair for everyone and every purpose. Find yours on 1stDibs right now.