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Early Florence Knoll Parallel Bar Sofa by Knoll International, circa 1955

About

An early production florence knoll parallel bar sofa by Knoll International. Florence Knoll did this constructivist design, circa 1955 almost in as De Stijl-like (Gerrit Rietveld) composition with the chromed steel parallel bar construction We re-upholsterd this classic Knoll two-seat with armrests in a cream De Ploeg mixed wool upholstery (Steppe) with new Latex and Pantera foam interior Photo 10 shows the original condition in which we found this sofa, it was purchased late 1950s by the previous owners. Photo 3 show the Dallas and San Fransisco Knoll showrooms in the 1950s featuring the parallel bar sofa by Florence Knoll. Florence Knoll: Architect, furniture designer, interior designer, entrepreneur — Florence Knoll had a subtle but profound influence on the course of Mid-Century American modernism. Dedicated to functionality and organization and never flamboyant, Knoll shaped the ethos of the post-war business world with her polished, efficient design and skillfully realized office plans. Knoll had perhaps the most thorough design education of any of her peers. Florence Schust was orphaned at age 12, and her guardian sent her to Kingswood, a girl’s boarding school that is part of the Cranbrook Educational Community in suburban Detroit. Her interest in design brought her to the attention of Eliel Saarinen, the Finnish architect and head of the Cranbrook Academy of Art. Saarinen and his wife took the talented child under their wing, and she became close to their son, the future architect Eero Saarinen. While a student at the Academy, Florence befriended artist-designer Harry Bertoia and Charles and Ray Eames. Later, she studied under three of the Bauhaus masters who emigrated to the United States. She worked as an apprentice in the Boston architectural offices of Walter Gropius and Marcel Breuer; Ludwig Mies van der Rohe taught her at the Illinois Institute of Technology. In 1941, she met Hans Knoll, whose eponymous furniture company was just getting off the ground. They married in 1946, and her design sense and his business skills soon made Knoll Inc. a leading firm in its field. Florence signed up the younger Saarinen as a designer, and would develop pieces by Bertoia, Mies and the artist Isamu Noguchi. Her main work came as head of the Knoll Planning Group, designing custom office interiors for clients such as IBM and CBS. The furniture Florence created for these spaces reflects her Bauhaus training: the pieces are pure functional design, exactingly built; their only ornament from the materials, such as wood and marble. Her innovations — the oval conference table, for example, conceived as a way to ensure clear sightlines among all seated at a meeting — were always in the service of practicality. Since her retirement in 1965, Knoll received the National Medal of Arts, among other awards; in 2004 the Philadelphia Museum of Art mounted the exhibition.

Details

  • Condition
    Good. New upholstery and foam interior, good original condition steel base with minor wear consistent with age and use .
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 29.93 in. x W 62.21 in. x D 31.5 in.

    H 76 cm x W 158 cm x D 80 cm

  • Seat height
    16.15 in. (41 cm)
  • Seller location
    bergen op zoom, NL
  • Reference number
    LU93017202943

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About Florence Knoll (Designer)

Architect, furniture designer, interior designer, entrepreneur — Florence Knoll had a subtle but profound influence on the course of mid-century American modernism. Dedicated to functionality and organization, and never flamboyant, Knoll shaped the ethos of the post-war business world with her polished, efficient design and skillfully realized office plans.

     Knoll had perhaps the most thorough design education of any of her peers. Florence Schust was orphaned at age 12, and her guardian sent her to Kingswood, a girl’s boarding school that is part of the Cranbrook Educational Community in suburban Detroit. Her interest in design brought her to the attention of Eliel Saarinen, the Finnish architect and head of the Cranbrook Academy of Art. Saarinen and his wife took the talented child under their wing, and she became close to their son, the future architect Eero Saarinen. While a student at the Academy, Florence befriended artist-designer Harry Bertoia and Charles and Ray Eames. Later, she studied under three of the Bauhaus masters who emigrated to the United States. She worked as an apprentice in the Boston architectural offices of Walter Gropius and Marcel Breuer; Ludwig Mies van der Rohe taught her at the Illinois Institute of Technology.

     In 1941, she met Hans Knoll, whose eponymous furniture company was just getting off the ground. They married in 1946, and her design sense and his business skills soon made Knoll Inc. a leading firm in its field. Florence signed up the younger Saarinen as a designer, and would develop pieces by Bertoia, Mies and the artist Isamu Noguchi. Her main work came as head of the Knoll Planning Group, designing custom office interiors for clients such as IBM and CBS. The furniture Florence created for these spaces reflects her Bauhaus training: the pieces are pure functional design, exactingly built; their only ornament from the materials, such as wood and marble. Her innovations — the oval conference table, for example, conceived as a way to ensure clear sightlines among all seated at a meeting — were always in the service of practicality.

     Since her retirement in 1965, Knoll received the National Medal of Arts, among other awards; in 2004 the Philadelphia Museum of Art mounted the exhibition “Florence Knoll: Defining Modern” — well deserved accolades for a strong, successful design and business pioneer. As demonstrated on these pages, the simplicity of Knoll’s furniture is her work’s great virtue: they fit into any interior design scheme.

Read more about Florence Knoll in Introspective Magazine.

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