Gio Ponti, original drawing for Knoll, prototype armchair, autenthicated

An architect, furniture and industrial designer and editor, Gio Ponti was arguably the most influential figure in 20th-century Italian modernism.

Ponti designed thousands of furnishings and products — from cabinets, mirrors and chairs to ceramics and coffeemakers — and his buildings, including the brawny Pirelli Tower (1956) in his native Milan, and the castle-like Denver Art Museum (1971), were erected in 14 countries. Through Domus, the magazine he founded in 1928, Ponti brought attention to virtually every significant movement and creator in the spheres of modern art and design.

The questing intelligence Ponti brought to Domus is reflected in his work: as protean as he was prolific, Ponti’s style can’t be pegged to a specific genre.

In the 1920s, as artistic director for the Tuscan porcelain maker Richard Ginori, he fused old and new; his ceramic forms were modern, but decorated with motifs from Roman antiquity. In pre-war Italy, modernist design was encouraged, and after the conflict, Ponti — along with designers such as Carlo Mollino, Franco Albini, Marco Zanuso — found a receptive audience for their novel, idiosyncratic work. Ponti’s typical furniture forms from the period, such as the wedge-shaped Distex chair, are simple, gently angular, and colorful; equally elegant and functional. In the 1960s and ’70s, Ponti’s style evolved again as he explored biomorphic shapes, and embraced the expressive, experimental designs of Ettore Sottsass Jr., Joe Colombo and others.

Ponti's signature furniture piece — the one by which he is represented in the collections of the Museum of Modern Art in New York, Germany’s Vitra Design Museum and elsewhere — is the sleek Superleggera chair, produced by Cassina starting in 1957. (The name translates as “superlightweight” — advertisements featured a model lifting it with one finger.)

Ponti had a playful side, best shown in a collaboration he began in the late 1940s with the graphic artist Piero Fornasetti. Ponti furnishings were decorated with bright finishes and Fornasetti's whimsical lithographic transfer prints of things such as butterflies, birds or flowers; the Montreal Museum of Fine Arts possesses a 1950 secretary from their Architetturra series, which feature case pieces covered in images of building interiors and facades. The grandest project Ponti and Fornasetti undertook, however, lies on the floor of the Atlantic Ocean: the interiors of the luxury liner Andrea Doria, which sank in 1956.

Widely praised retrospectives at the Queens Museum of Art in 2001 and at the Design Museum London in 2002 sparked a renewed interest in Ponti among modern design aficionados. (Marco Romanelli’s monograph, which was written for the London show, offers a fine overview of Ponti’s work.) Today, a wide array of Ponti’s designs are snapped up by savvy collectors who want to give their homes a touch of Italian panache and effortless chic.

Find a range of vintage Gio Ponti desks, dining chairs, coffee tables and other furniture on 1stDibs.

As a company that produced many of the most famous and iconic furniture designs of the 20th century, Knoll was a chief influence in the rise of modern design in the United States. Led by Florence Knoll, the firm would draw stellar talents such as Ludwig Mies van der Rohe and Eero Saarinen into its compass. Their work would help change the face of the American home and office.

The company was formed in 1938 by the German immigrant Hans Knoll. He first worked with his fellow ex-pat, the Danish designer Jens Risom, who created furniture with flowing lines made of wood. While Risom served in World War II, in 1943 Knoll met his future wife, Florence Schust. She had studied and worked with eminent emigré leaders of the Bauhaus, including Mies, Walter Gropius and Marcel Breuer. She won Knoll over with Bauhaus notions of industrial arts, and an aesthetic that featured flat and tubular metal frames and angular forms. When Hans died in a car crash in 1955, Florence Knoll was appointed head of the company. It was as much through her holistic approach to design — a core division of the firm was dedicated to planning office systems — as Knoll's mid-century modern furnishings themselves that she brought about the sleek and efficient transformation of the American workplace.

Today, classic Knoll furnishings remain staples of modern design collections and decor. A history of modern design is written in pieces such as the elegant Barcelona chair — created by Mies and Lilly Reich — Saarinen’s pedestal Tulip chair, Breuer’s tubular steel Wassily lounge chair and the grid-patterned Diamond chair by Harry Bertoia.

As you can see from the collection of these designs and other vintage Knoll dining chairs, sofas and tables on 1stDibs, this manufacturer's offerings have become timeless emblems of the progressive spirit and sleek sophistication of the best of modernism.