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

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.

Finding the Right ashtrays for You

Once a near-universal tabletop accessory, many antique, new and vintage ashtrays have taken on an entirely new purpose in today’s homes.

Whereas these formerly ubiquitous objects were associated with smoking, drinking, gambling and other vices, a well-designed and interesting ashtray is a candy dish, coaster or cocktail garnish receptacle in today’s interiors. But don’t discount its initial function. Amid your carefully curated coastal chic California decor, for example, a stone ashtray can help you manage the ashes that accumulate while you’re burning your morning incense. Old glass ashtrays, which are quite popular and easily found in free-form, organic shapes, can be a purely decorative final touch when styling a coffee table, whether you’ve filled it with wrapped lemon-drop candies or not.

In the postwar years, the democratization of luxury led to an explosion in the number of well-designed ashtrays, and there are many mid-century modern ashtrays to choose from on 1stDibs. (It’s no coincidence that sculptor Isamu Noguchi devised his “Dymaxion” version, which he hoped would make him rich, in 1945. Alas, it turned out to be too difficult to mass-produce.) The design collection of the Museum of Modern Art includes ashtrays by Carlo Scarpa (Murano glass, 1950–59); Achille Castiglioni (stainless steel with spring-like inserts, 1970); Masayuki Kurokawa (rubber and steel, 1973) and more. Smoking declined in popularity in the 1970s and ’80s, after the surgeon general’s warning began appearing on cigarette packs, but designers were still crafting ashtrays through the end of the century (especially outside the United States).

On 1stDibs, browse a collection of antique, new and vintage ashtrays that includes everything from modern and minimalist cigar ashtrays to outwardly ornate Art Deco ashtrays that evoke the opulence and elegance of the 1920s.