The modern look that took root in the 1940s and expanded into 1950s, ’60s, and early ’70s in America reflects on innovative Bauhaus design originating in Germany decades earlier, around the same time that Art Deco was on the rise. Designers like Charles (1907–1978) and Ray (1912–1988) Eames built on this modernist ideal with their colorful furniture made of bent plywood, and plastic chairs molded to fit the curve of the body. Their designs are considered to be classics among modernism fans. Like the Eames desk and return (1954) and side chair (1958), many Eames pieces were manufactured by Herman Miller, another name entrenched in classic midcentury design. In furniture design, Bertoia’s work for Knoll has been on the map of collectors for quite some time. “In 1950 Hans Knoll, one of the leading manufacturers of modern furniture in the United States, commissioned the prominent American metalsmith and sculptor Harry Bertoia to design several chairs,” said author Marvin D. Schwartz in “American Furniture: Tables, Chairs, Sofas & Beds.” “Bertoia’s designs transcended the barrier between decorative and functional design…his objects balanced successfully between sculpture and furniture.” Bertoia’s “Diamond Chairs” have a base of lattice-like metal (which can be seen from the back) with a fabric cover. There were five different sculptural, open-weave metal designs in the original Bertoia Collection for Knoll. Like most Knoll designs from the 1950s, these chairs were made over a long period of time. Knoll Associates labels were used through 1969; versions made since then are marked Knoll International when the labels are still present. Like Bertoia, Mies designs were also manufactured by Knoll Associates. This production yielded many designs, expertly using open space akin to Mies’ architecture, that have cantilevered seats artfully suspended above air. This is true of the Tugendhat lounge chairs as well as with many of his other chair designs originating at the Bauhaus. These styles have been widely copied since they were introduced. Mies’ most famous design, however, is the Barcelona chair. This iconic seat was originally made for the International Exposition of 1929 held in Barcelona, Spain. Knoll International (the name of the company since 1969) is still producing the “less is more” Barcelona chair today. Breuer’s most famous design, the Wassily chair, came about during his tenure as the head of the cabinet-making workshop while still at the Bauhaus. The first example of this extreme variation of the traditional club chair was made in the 1920s and was named simply Model B3. It came in both folding and stationary styles with fabric straps attached to steel tubing like that used in hospital furniture of the day. These early chairs are the most valuable examples in the eyes of collectors. After World War II, the Wassily was produced with the more familiar leather straps, although fabric was available as well. By 1968, Knoll purchased the Breuer catalog and began producing his designs, several of which are still available today. This includes the Wassily chair in numerous color variations, the cantilevered Cesca chair in versions with and without arms, and his popular Laccio coffee and end tables. For example, Jacobsen conceived every detail of the SAS Royal Hotel in Copenhagen, Denmark. One of the furniture pieces for the hotel was his signature Egg Chair with matching footstool, designed in 1958. This curvaceous lounger is one of his most well-known designs and one of the most popular among fans of modernist furnishings. It is still being produced today. Jacobsen also conceived the Ant chair and the Swan chair, along with other innovative designs, including flatware, cocktail sets, and tea service sets. All of these are very functional in addition to being interesting to display and are quite valuable to collectors today. Evans’ furniture is known for the use of sculpted metals, including bronze, stainless steel, and copper, with a strong Brutalism influence. His tables usually consist of a geometric mass of metal or wood, sometimes bringing natural stalagmites to mind as if they are growing up from the floor, and some were topped with glass. His case pieces often are heavy and massive, with fronts that are broken into a series of squares decorated primitively or are shiny and angular, forming a metal patchwork. Many Evans pieces were commissioned directly by clients through his studios. These were often held by the original owners, and their estates have documented provenance confirming them as Evans’ work when they come up for sale. Most of those pieces are marked with the initials “PE” or the full name “Paul Evans,” along with a two-number date.
