Pair of Paul Laszlo Lounge Chairs

The suave architect and interior designer Paul Laszlo made his reputation in Hollywood, where his clients included Barbara Stanwyck, Cary Grant and Elizabeth Taylor. He was aligned to no artistic or design movements, relying on his own carefully honed instincts. From the late 1930s to the 1960s, Laszlo’s name was a byword for sumptuous modernity among members of the smart set.

Born in Hungary in 1900, Laszlo learned about quality from his father, a prosperous furniture manufacturer. He studied design in Vienna and had his technical training in Stuttgart, Germany, where, at age 27, he established an upscale design business that gained an international reputation. Nine years later, with the Nazis in power, Laszlo, a Jew, left Germany for the United States and made his way to Los Angeles. There, he established an interior design office in Beverly Hills and was pleased to find that his Stuttgart credentials carried weight.

While he took many commercial assignments for American department stores, custom residential work was Laszlo’s stock in trade. He turned his hand to every element in a room, “down to the last ashtray,” Time magazine once wrote. Like his clients, Laszlo appreciated luxury — not the luxury of rare and precious materials, but the luxury of rich colors and textures, and deep comforts. He had a contemporary élan, exemplified by spaces that were bright, airy, uncluttered and up-to-date. The classic earmarks of Laszlo’s furnishings are generous proportions and, in the case of his Paddle and Plank armchairs, namesake armrests that are flat and wide, the perfect spot to rest a cocktail. His case goods, tables and dining chairs have clean, elegant lines; they are simply formed yet warm, with interesting details such as woven veneer door fronts.

In recent years, Laszlo’s designs have found a new audience among fans of his easygoing modernism. Prices are in the neighborhood of $5,000 for his vintage cabinets, and from $8,000 to upwards of $20,000 for seating pieces, which are generally found in pairs or groups of six or more.

As you will see on 1stDibs, there was a reason that Laszlo’s work was so admired in the mid-20th century: every design contributes to an environment that is comfortable and elegant — at once robust and relaxed.

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.