Exquisite Florence Knoll and George Nakashima Executive Desk

A master woodworker and M.I.T.-trained architect, George Nakashima was the leading light of the American Studio furniture movement. Along with Wharton Esherick, Sam Maloof and Wendell Castle, Nakashima was an artisan who disdained industrial methods and materials in favor of a personal, craft-based approach to the design of chairs, coffee tables and other pieces. What sets Nakashima apart is the poetic style of his work, his reverence for wood and the belief that his furniture could evince — as he put it in the title of his 1981 memoir — The Soul of a Tree.

Born in Spokane, Washington, to Japanese immigrants, Nakashima traveled widely after college, working and studying in Paris, Japan and India, and at every stop he absorbed both modernist and traditional design influences.

The turning point in Nakashima’s career development came in the United States in 1942, when he was placed in an internment camp for Asian-Americans in Idaho. There, Nakashima met a master woodcarver who tutored him in Japanese crafting techniques. A former employer won Nakashima’s release and brought him to bucolic New Hope, Pennsylvania, where Nakashima set up a studio and worked for the rest of his life. (Master craftsperson Mira Nakashima keeps her father’s legacy alive at the George Nakashima Studio in New Hope today. She has been the artistic director of George Nakashima Woodworkers since her father's death, in 1990.)

Nakashima’s singular aesthetic is best captured in his custom-made tables and benches — pieces that show off the grain, burls and whorls in a plank of wood. He left the “free edge,” or natural contour, of the slab un-planed, and reinforced fissures in the wood with “butterfly” joints.

Almost all Nakashima seating pieces have smooth, milled edges. Nakashima also contracted with large-scale manufacturers to produce carefully supervised editions of his designs. Knoll has offered his Straight chair — a modern take on the spindle-backed Windsor chair — since 1946; the now-defunct firm Widdicomb-Mueller, the result of a merger between Widdicomb and Mueller Furniture, issued the Shaker-inspired Origins collection in the 1950s.

Nelson Rockefeller in 1973 gave Nakashima his single largest commission: a 200-piece suite for his suburban New York estate. Today, Nakashima furniture is collected by both the staid and the fashionable: his work sits in the collections of the Philadelphia Museum of Art, New York’s Metropolitan Museum of Art and the Smithsonian Institution, as well as in the homes of Steven Spielberg, Brad Pitt, Diane von Furstenberg and the late Steve Jobs.

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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 postwar business world with her skillfully realized office plans and polished, efficient designs for sofas, credenzas, desks and other furnishings.

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.

Florence Knoll's main work came as head of the Knoll Planning Group, designing custom office interiors for clients such as IBM and CBS. The furniture she 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.

Find vintage Florence Knoll sofas, benches, armchairs and other furniture on 1stDibs.