Globo Console

Potter-turned-home-design guru Jonathan Adler is a man with a peripatetic mind, inspired in equal parts, it seems, by classic modern design, Surrealism and pop culture.

Although his namesake company has expanded into a mini empire touching just about every aspect of modern living — chairs and ice buckets, wallpaper and menorahs, chandeliers and rugs — made in myriad materials, Adler still creates almost every object in clay first. His guiding principle is a simple one: “I make the stuff I want to surround myself with, and I surround myself with it.”

Adler grew up in a New Jersey farm town. His grandfather became a local judge, and his father returned home after graduating from the University of Chicago. “My pop was a brilliantly talented artist. At one point, he had to decide whether to become an artist or a —,” he pauses, searching for the right word, “person.” His father became a lawyer but spent all his free time in his studio, “making art, unencumbered by the need to make money from it. It was a totally pure pursuit.” Adler’s mother, who had worked at Vogue and moved to the rural town reluctantly, was also creative, and both parents encouraged their three children’s creativity.

When he was 12, Adler went to sleepaway camp, where he threw his first pot. “And it was on,” he says. His parents bought him a pottery wheel, and he spent the remainder of his adolescence elbow-deep in clay. Even while majoring in semiotics and art history at Brown University, he hung out at the nearby Rhode Island School of Design, making pots.

Adler moved to New York City, worked briefly in entertainment, and in 1993 returned to his true love, throwing pots (in exchange for teaching classes) at a Manhattan studio called Mud Sweat & Tears. One day, at Balducci’s food market, he ran into Bill Sofield, an old friend who had recently cofounded, with Thomas O’Brien, the now-legendary Aero Studios, a design firm and shop. Sofield paid a studio visit and promptly gave him an order. Then, another friend introduced Adler to a buyer at Barneys New York, who also wrote an order.

For about three years after Adler began devoting himself to ceramics full-time. Despite the street cred of both Aero and Barneys, he also wasn’t really making enough money to live on. Then, in 1997, he teamed with Aid to Artisans, a nonprofit aimed at creating economic opportunity for skilled artisans in developing countries, and traveled to Peru to hire potters who could follow his designs, thus increasing production.

Adler’s first store opened in 1998, in the Soho shopping mecca in Manhattan. He now operates about two dozen shops, as far-flung as London and Bangkok. During Adler’s trip to Peru, he connected not only with potters but also with several talented weavers and decided to branch out into textiles. Other categories followed, leading him to travel the world in search of artisans who could execute his endless supply of ideas. In India, Adler found a man who’s expert at beadwork; he has his limed furniture made in Indonesia, his honey-colored wood pieces in Vietnam.

After a friend asked him to decorate her house, Adler expanded to interior design, taking on hotels as well as private residences — projects for which he remains “agnostic,” using pieces by other designers. “I really try to get to know my clients and then make them seem more glamorous and more eccentric than they think,” he says. “I see myself as a slimming mirror for them.”

Find Jonathan Adler seating, case pieces, decorative objects and other furniture on 1stDibs.

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.

Few pieces of furniture are celebrated for their functionality as much as their decorative attributes in the way that console tables are. While these furnishings are not as common in today’s interiors as their coffee-table and side-table counterparts, console tables are stylish home accents and have become more prevalent over the years.

The popularity of wood console tables took shape during the 17th and 18th centuries in French and Italian culture, and were exclusively featured in the palatial homes of the upper class. The era’s outwardly sculptural examples of these small structures were paired with mirrors or matching stools and had tabletops of marble. They were most often half-moon-shaped and stood on two scrolled giltwood legs, and because they weren’t wholly supported on their two legs rather than the traditional four, their flat-backed supports were intended to hug the wall behind them and were commonly joined by an ornate stretcher. The legs were affixed or bolted to the wall with architectural brackets called console brackets — hence, the name we know them by today — which gave the impression that they were freestanding furnishings. While console tables introduced a dose of drama in the foyer of any given aristocrat — an embodiment of Rococo-style furniture — the table actually occupied minimal floor space (an attractive feature in home furniture). As demand grew and console tables made their way to other countries, they gained recognition as versatile additions to any home.

Contemporary console tables comprise many different materials and are characterized today by varying shapes and design styles. It is typical to find them made of marble, walnut or oak and metal. While modern console tables commonly feature four legs, you can still find the two-legged variety, which is ideal for nestling behind the sofa. A narrow console table is a practical option if you need to save space — having outgrown their origins as purely ornamental, today’s console tables are home to treasured decorative objects, help fill empty foyers and, outfitted with drawers or a shelf, can provide a modest amount of storage as needed.

The rich collection of antique, new and vintage console tables on 1stDibs includes everything from 19th-century gems designed in the Empire style to unique rattan pieces and more.