Rolled Arm Club Chair Ward Bennett for Geiger, a Herman Miller Company

Ward Bennett created everything from interiors and furniture to textiles and flatware. The unsung New York City-born modernist designer drew on the work of Le Corbusier and Auguste Rodin, studied art with the likes of Abstract Expressionist painter Hans Hofmann and counted legendary American luxury house Tiffany & Co. among his clients. For decades, Bennett created and filled spaces that were elegant, minimalist and deeply appealed to everyone who laid eyes on them.

Bennett left home and school at the young age of 13. He found work in Manhattan’s Garment District, and within a few years, Bennett traveled to Europe on behalf of a clothing manufacturer to gather ideas for modern garments. He lived abroad as a young man, and when he returned to New York, during the early 1940s, he assisted fashion entrepreneur Hattie Carnegie as a window dresser.

Bennett would also go on to share a sculpture studio with artist Louise Nevelson. He ventured into the world of jewelry design, creating necklaces, bracelets and other pieces with Richard Pousette-Dart. The Whitney Museum of American Art exhibited his sculptures, and it wouldn’t be long before the Museum of Modern Art included Bennett’s personal adornments with accessories by the likes of Alexander Calder, Harry Bertoia and Anni Albers in its 1946 “Modern Handmade Jewelry” show.

Bennett didn’t take the plunge into interior design work until he was 30 years old — his inaugural project was an apartment in Manhattan and his clients were family members. He had no formal training in architecture or decorating — and would ultimately design a mere handful of houses in his life — so for his inviting leather office chairs, marble-topped tables and sleek storage cabinets, Bennett relied only on what he learned in the fashion world. Soon, every time he redecorated his own home — an elaborate apartment comprising former maids’ quarters in New York City’s magnificent Dakota building — it earned splashy coverage in the newspapers.

Bennett’s client list eventually included David Rockefeller and Chase Manhattan Bank, Tiffany & Co., Sasaki, Italian industrialist Gianni Agnelli, and others, and during the 1970s he became in-house designer for Brickel Associates, a role that would endure for more than two decades. His work is on permanent view at the Museum of Modern Art and the Cooper-Hewitt National Design Museum in New York.

On 1stDibs, find vintage Ward Bennett seating, decorative objects and more.

No other business of its kind did more than the Herman Miller Furniture Company to introduce modern design into American homes. Working with legendary designers such as Charles and Ray Eames, George Nelson and Alexander Girard, the Zeeland, Michigan-based firm fostered some of the boldest expressions of what we now call mid-century modern style. In doing so, Herman Miller produced some of the most beautiful, iconic and, one can even say, noblest furniture ever.

Founded in 1923, Herman Miller was originally known for grand historicist bedroom suites: heavily ornamented wood furniture that appealed to a high-minded, wealthier clientele. The company — named for its chief financial backer — began to suffer in the early 1930s as the Great Depression hit, and D.J. De Pree, the company’s CEO, feared bankruptcy. In 1932, aid came in the form of Gilbert Rohde, a self-taught furniture designer who had traveled widely in Europe, absorbing details of the Art Deco movement and other modernist influences. After persuading De Pree that the growing middle-class required smaller, lighter household furnishings, Rohde set a new course for Herman Miller, creating sleek chairs, tables and cabinetry that were the essence of the Streamline Moderne style.

Rohde died suddenly in 1944. The following year, De Pree turned to George Nelson, an architect who had written widely about modern furniture design. Under Nelson’s leadership, Herman Miller would embrace new technologies and materials and audacious biomorphic forms. Some of the pieces the company produced are now emblems of 20th century American design, including the Eames lounge chair and ottoman and Nelson’s Marshmallow sofa and Coconut chair. As you can see on 1stDibs, such instantly recognizable furnishings have become timeless — staples of a modernist décor; striking, offbeat notes in traditional environments.