1970s Curtis Jere for Jonathan Adler Raindrop Series Tree Sculpture

Though the name Curtis Jeré is familiar to many as the maker of ebullient and eccentric modern design from the 1960s and ‘70s, relatively few are aware that it is a pseudonym for the design team of Curtis Freiler and Jerry Fels. Together, the two created some of the most striking and vivid furnishings and decorative objects of their era, from sculptures and dynamically framed mirrors, to lighting and wall decorations.

New Yorkers Freiler and Fels had collaborated for two decades on small jewelry lines before launching a design company called Artisan House in 1964. They combined variants of their names to create an artful persona — sometimes shortened to C. Jeré; the "surname" is pronounced with a rising inflection: jhayr-EH — that stood behind large-scale decorative metalwork, marked by semi-abstract petal forms with burnt and brazed edges. Fels served as head of design, and Freiler, known for his keen handiwork, was the production chief. The pair’s eclectic metalwork has captivated decorative art collectors and interior designers ever since.

The work of Curtis Jeré displays a sense of playfulness and curiosity, while drawing on inspirations and themes that include flowers, discs, geometric forms and animal figures. Freiler and Fels had a masterful ability to work with different materials, such as patinated brass and brilliant chrome.

The price of a Curtis Jeré mirror, lamp, wall-mounted sculpture or tabletop sculpture can range from $400 to $12,000, depending on the size, the rarity of the piece, the intricacy of the metalwork and the materials used in its construction. Other factors like condition can affect the perceived value and, thus, the cost of works by Curtis Jeré.

As you will see on 1stDibs, the imaginative powers of the designers of Curtis Jeré pieces were boundless, and their creations will add a dash of verve in any room.

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.