Dorothy Thorpe Frosted Bowl

Dorothy Thorpe glassware was a chic staple of every mid-century modern wet bar, paricularly her festive Roly Poly silver-banded tumblers. Although not as widely known as such contemporaries as Eva Zeisel and Edith Heath, Thorpe was one of a group of creative and entrepreneurial women whose designs captured the imagination of the postwar homeowner with her modern and festive designs.

Thorpe was born in Salt Lake City in 1901 and settled in Los Angeles as a young woman. She began creating her signature glassware using the trade name Dorothy Thorpe Originals in the 1930s. Thorpe was a designer, not a glassblower. To create her shimmering wares, she purchased glass blanks from a variety of manufacturers and subjected them to various techniques, including sandblasting, etching and silver overlay. Initially Art Deco in style, the pieces were signed with a large T and smaller D. Thorpe also worked in ceramics and, in the 1940s, with Lucite, producing a line of household items, such as magazine racks, sculptural lamps, candlesticks and umbrella stands.

After World War II, Thorpe was inspired by the new interest in the flowers and animals of the South Pacific to begin incorporating tropical floral motifs into her work. She traveled to Hawaii and studied local irises, roses, azaleas, narcissus and eucalyptus. The decorative patterns based on these studies were created primarily by sandblasting, which makes a glass surface appear frosted. From the 1930s through the ’50s, Thorpe’s designs won her many fans among the members of café society, including Princess Grace of Monaco and the Shah of Iran. They were also widely imitated. Vintage tumblers that bear a silver stripe around the rim but lack the “DT” signature on the bottom are not Thorpe originals.

In the 1950s, Thorpe created the glassware line Atomic Splash, which featured the energetic geometric patterns that were so popular at the time. Atomic Splash patterned drinking glasses and serving dishes bore a silver overlay that evoked an explosion. She also designed a line of ceramic tableware decorated with a wreath of spring flowers in collaboration with Crown Lynn Pottery, in New Zealand, and, in the mid-’60s, created coffee sets for the Santa Barbara and Monterey companies. Among her own ceramics products were lines glazed iin the eye-catching shades Orange Persimmon and Blue Periwinkle.

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.