American Post-War Rosewood Loveseat

Milo Baughman was one of the most agile and adept modern American furniture designers of the late 20th century. A prolific lecturer and writer on the benefits of good design — he taught for years at Brigham Young University — Baughman (whose often-scrambled surname is pronounced BAWF-man) focused almost exclusively on residential furnishings, such as chairs, sofas and benches. He had a particular talent for lounge chairs, perhaps the most sociable piece of furniture.

Like his fellow adoptive Californians Charles and Ray Eames, Baughman’s furniture has a relaxed and breezy air. He was famously opposed to ostentatious and idiosyncratic designs that were made to excite attention. While many of his chair designs are enlivened by such effects as tufted upholstery, Baughman tended to let his materials carry the aesthetic weight, most often relying on seating and table frames made of sturdy and sleek flat-bar chromed metal, and chairs, tables and cabinets finished with highly-figured wood veneers.

Like his colleagues Karl Springer and the multifarious Pierre Cardin, Baughman’s designs are emblematic of the 1970s: sleek, sure and scintillating.

As you will see from the furniture presented on 1stDibs, Milo Baughman’s designs for the likes of Drexel Furniture, Glenn of California and — for five decades — Thayer Coggin are ably employed as either the heart of a décor or its focal point.