Val St Lambert Ashtray

For almost 200 years, Val Saint Lambert of Seraing, Belgium, has produced some of the most elegant and prestigious works of crystal and glass. Holding the distinction of being the world’s only Belgian glassworks, Val Saint Lambert creates exquisite items including ashtrays, serveware, vases and sculptures. 

Founded by chemist François Kemlin and engineer Auguste Lelièvre, the company opened its first glassworks in 1826. Its quality manufacturing of heavy-lead crystal and the expert craftsmanship of its wares quickly led to the company’s popularity. 

In 1894, Val Saint Lambert exhibited its geometric-cut crystal at the World’s Fair in Antwerp, Belgium. The central piece was “le Vase des Neuf Provinces,” or “The Vase of the Nine Provinces.” Under the direction of French glassmaker Léon Ledru, it took 30 artisans over 2,000 hours to fashion it from 85 individually crafted pieces. The exposure led to Val Saint Lambert becoming the primary crystal used by the Tsars of Russia and the company’s pieces being sold internationally.

That same year, the company crafted two immense crystal chandeliers for the Maharaja of Gwalior to hang in his palace in India. Weighing almost five tons each and measuring over 42 feet high, they were the largest crystal chandeliers in the world at the time.

The company closed its doors for the duration of World War I but soon reopened. By 1926, it had over 5,000 employees and had a growing demand for its pieces made in the Art Deco style.

During World War II, bombing from German and Allied forces destroyed the main glassworks facility. The company rebuilt, but by 1950, crystal was becoming more of a household item and less of a luxury good. 

In the subsequent decades, Val Saint Lambert collaborated with notable names to expand its offerings with sophisticated furniture, including work with Philippe Starck and Frans Van Praet. In 1992, Van Praet designed the famed Sevilla chair for Val Saint Lambert, a piece highly prized by collectors and designers.

In 2014, Belgian manufacturer Jacques Somville took over Val Saint Lambert. In 2018, Belgian entrepreneur George Arthur Forrest acquired the majority of the company. Val Saint Lambert continues to make some of the finest glass and crystal wares in the world.

Find Val Saint Lambert lighting, seating and decorative objects 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.