Mohair Furniture

Charles Pollock Executive Office Chair for Knoll International (1963) Design: Button-tufted black leather seat and backing on a chrome base with four casters. Dimensions: 32.25" H ...

Vintage Florence Knoll 2 seater 'lounge series' sofa with original 2nd generation upholstery in a coarse woven off-white mottled wool fabric. This sofa d...

Set of 10 vintage Charles Pollock executive desk chair for Knoll. The ultimate ergonomic, office desk chair designed by this George Nelson apprentice, Charles Pollock. Sold separately.

Very early Florence Knoll sofa, circa late 1940s, in vintage oatmeal nubby wool Knoll fabric, with down seat and back cushions. The six inset legs make...

This early production Model #920 modular four-seat sofa by Afra and Tobia Scarpa for Cassina was designed in circa 1966 and this example is from the earlier years of production as evidenced by the early style 'Figli di Amedeo Cassina' labels on each section (see photos). Featuring soft supple black leather cushions which extend to the arms and backside along with nicely grained Walnut accents to the frame, this sofa is in two parts and can either be used together as one long four-seat sofa or separated as two loveseat...

Classic black leather desk chair by Charles Pollock and manufactured by Knoll. Executed in black leather and steel base. No tears or missing buttons or screws. Leather in very good c...

Vintage leather desk for office chair by Charles Pollock for Knoll. In good vintage condition. All wheels work as does swivel base. Height adjusta...

Pair of Mid-Century Modern Vintage all original Knoll cube club chairs. Simple cubist form with clean lines, set atop a seemingly floating base that are cha...

Sculptural and graceful iconic lounge chair model 1705 by Warren Platner designed in 1962 for Knoll International. Upholstered in luxurious rust ...

Sculptural modern lounge chair in nickel finish, designed by Warren Platner for Knoll, circa 1980s. Signed with Knoll label. This chair is currently being reupholstered and can be co...

Warren Platner studied at Cornell University, graduating in 1941 with a degree in architecture. He went on to work with legendary architects Raymond Loewy, Eero Saarinen, and I. M. P...

Pristine Florence Knoll sofa for Knoll International. Upholstered in gorgeous Sina Pearson fabric. Florence Knoll was a pioneering designer and entrepreneur who created the modern look and feel of America’s postwar corporate office with sleek furniture, artistic textiles and an uncluttered, free-flowing workplace environment. To connoisseurs of Modernism, the mid-20th century designs of Florence Knoll, were — and still are — the essence of the genre’s clean, functional forms. Transcending design fads, they are still influential, still contemporary, still common in offices, homes and public spaces, still found in dealers’ showrooms and represented in museum collections. Ms. Knoll learned her art at the side of Modernist masters. She was a protégé of the German-American architect Ludwig Mies van der Rohe and Eliel Saarinen, the Finnish architect and teacher and the father of the architect Eero Saarinen. And she worked with the renowned Bauhaus architects Walter Gropius and Marcel Breuer. Throughout her career, influenced by the German Bauhaus school of design, she promoted the Modernist merger of architecture, art and utility in her furnishings and interiors, especially — although not exclusively — for offices. In the 1940s, she married and became a business partner of the German-born furniture maker Hans Knoll, and over 20 years she was instrumental in building Knoll Associates into the largest and most prestigious high-end design firm of its kind, with 35 showrooms in the United States and around the world. While her husband handled business affairs, Ms. Knoll was the design force of Knoll Associates. It grew to become the leading innovator of modern interiors and furnishings in the 1950s and ’60s, transforming the CBS, Seagram and Look magazine headquarters in Manhattan, the H. J. Heinz headquarters in Pittsburgh and properties across the United States, Europe, Asia and South America, including American embassies. Her “total design” favored open work spaces over private offices, and furniture grouped for informal discussions. It integrated lighting, vibrant colors, acoustical fabrics, chairs molded like tulip petals, sofas and desks with chrome legs...