{"title":"SEATING","description":"","products":[{"product_id":"iron-medieval-style-garden-chair","title":"IRON MEDIEVAL STYLE GARDEN CHAIR","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA decorative wrought iron, artisan-made garden or patio chair in a Medieval Gothic revival style, featuring ribbon slats, scrolled arms and legs, and flame finials rising from each of the back posts.  Excellent for outdoor seating, as a potted plant holder, or a trellis.\u003cbr\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":31701989752874,"sku":"IRON MEDIEVAL STYLE GARDEN CHAIR","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20200605_142205-01_1_1.jpg?v=1758670175"},{"product_id":"danish-modern-duba-upholstered-arm-chairs","title":"DANISH MODERN ‘DUBA’ ARM CHAIRS WITH ORIGINAL UPHOLSTERY","description":"\u003cp\u003eDanish Modern conference chairs manufactured by DUBA MØBELINDUSTRI in the 1960s. Built to occupy public places, these sturdy chairs can be easily repurposed for home office use. Tubular chrome arms and legs support handsome seats and backrests molded from bent oak plywood, as well as solid oak armrests. Upholstered in a durable, cornflower-blue wool fabric. Excellent condition overall.\u003c\/p\u003e\n\u003cp\u003eWell-documented in design history, the original DUBA MØBELINDUSTRI labels are retained. Four available; priced individually.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eDUBA MØBELINDUSTRI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eDENMARK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eDANISH MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eOAK, PLYWOOD, WOOL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCORNFLOWER, CHROME\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24 ½\" W × 23\" D × 30 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e20 ½\" W × 18\" D × 18 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArm Height – \u003cb\u003e26\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44690540757179,"sku":"DANISH MODERN ‘DUBA’ UPHOLSTERED ARM CHAIRS (EACH)","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/134677448_1_x.webp?v=1689434504"},{"product_id":"rare-sculptura-arm-chairs-by-russel-woodard","title":"RARE ‘SCULPTURA’ ARM CHAIRS BY RUSSEL WOODARD (PAIR)","description":"\u003cp\u003eA rare form of the \u003ci\u003eSculptura\u003c\/i\u003e armchair designed in 1956 by Russell Woodard and produced by the Woodard Furniture Company of Owosso, Michigan, circa 1960. Pair available.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eWith its \u003ci\u003eSculptura\u003c\/i\u003e line, Woodard Furniture became the first manufacturer to construct sculpted chairs without using expensive molds. In 1994, the classic \u003ci\u003eSculptura\u003c\/i\u003e chair was added to the Cooper Hewitt, Smithsonian Design Museum’s permanent collection. In response to the resurgence in popularity of mid-century modern furnishings, Woodard revived a limited range of the iconic collection in 2015, making it available in 30 colors and finishes.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eRUSSELL WOODARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003ePERIOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eWOODARD FURNITURE CO.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eIRON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e23\" W × 20\" D × 32\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e19\" W × 16\" D × 17\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArm Height – \u003cb\u003e25\"\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44842045702331,"sku":"RARE 'SCULPTURA' ARM CHAIRS BY RUSSEL WOODARD (PAIR)","price":1995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231109_115256-01.jpg?v=1701975593"},{"product_id":"low-sculptura-side-chairs-by-russel-woodard-for-woodard-furniture","title":"LOW ‘SCULPTURA’ SIDE CHAIRS BY RUSSEL WOODARD FOR WOODARD FURNITURE","description":"\u003cp\u003eA set of low \u003ci\u003eSculptura\u003c\/i\u003e side chairs designed in 1956 by Russell Woodard and produced by the Woodard Furniture Company of Owosso, Michigan, circa 1960. Four available as a set.\u003c\/p\u003e\n\u003cp\u003eWith its \u003ci\u003eSculptura\u003c\/i\u003e line, Woodard Furniture became the first manufacturer to construct sculpted chairs without using expensive molds. In 1994, the classic \u003ci\u003eSculptura\u003c\/i\u003e chair was added to the Cooper Hewitt, Smithsonian Design Museum’s permanent collection. In response to the resurgence in popularity of mid-century modern furnishings, Woodard revived a limited range of the iconic collection in 2015, making it available in 30 colors and finishes.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eRUSSELL WOODARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003ePERIOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eWOODARD FURNITURE CO.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eIRON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eOverall good vintage condition. May show minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e18\" W × 21\" D × 27\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e19\" W × 16\" D × 14 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44842066772155,"sku":"LOW 'SCULPTURA’ SIDE CHAIRS BY RUSSEL WOODARD FOR WOODARD FURNITURE","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231109_115618-01.jpg?v=1701980424"},{"product_id":"tuxedo-back-box-form-club-chair-after-george-nelson-for-herman-miller","title":"TUXEDO BACK CLUB CHAIR IN THE STYLE OF GEORGE NELSON FOR HERMAN MILLER","description":"\u003cp\u003eA newly upholstered tuxedo-back club chair in the style of George Nelson for the Herman Miller Furniture Company of Zeeland, Michigan. The exposed walnut frame features attractive bridle joints at each corner of the arms and back—and extends downward to form the legs. The chair has been reupholstered in a beige and tan chenille that contrasts beautifully with the medium-brown color of the walnut.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eWALNUT, CHENILLE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBEIGE, BROWN, TAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Newly reupholstered. Wood frame may show minor traces of wear consistent with age and previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e31\" W × 32\" D × 31\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e25\" W × 22\" D × 17\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArm Height – \u003cb\u003e26\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46250040656059,"sku":"TUXEDO BACK CLUB CHAIR IN THE STYLE OF GEORGE NELSON FOR HERMAN MILLER","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/1000048806_1_b2858a5f-58c6-462a-821d-ac3c46b7a211.jpg?v=1720895501"},{"product_id":"set-of-four-stacking-molded-plywood-potato-chip-chairs","title":"SET OF FOUR STACKING MOLDED PLYWOOD “POTATO CHIP” CHAIRS","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis set of four modern bent plywood chairs brings a sleek, minimalist design to your dining or office space. Crafted with a focus on both form and function, these chairs are reminiscent of the iconic Flötotto 'Mosquito' dining chairs from the 1980s or the Designer Modern Italian Arrmet Tamago Chair by Cataruhi \u0026amp; Petracich. The bentwood design echoes the timeless appeal of Scandinavian design, similar to Arne Jacobsen's Series 7 chairs or the classic Eames molded plywood chairs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe chairs feature a beautifully curved plywood seat and backrest, supported by sturdy chrome legs, combining durability with aesthetic appeal. The plywood's natural wood grain adds a warm, organic touch to the contemporary design, making these chairs a versatile addition to any modern interior. The clean lines and ergonomic shape also draw parallels to the designs of Charles and Ray Eames and the Bauhaus movement, offering a nod to the principles of functionalism and simplicity.\u003c\/p\u003e\n\u003cp\u003eIdeal for those who appreciate mid-century modern design with a contemporary twist, these chairs offer both comfort and style. Whether used as dining chairs or as statement pieces in a living or office space, they are sure to elevate the look and feel of your environment. The sleek chrome legs bring to mind the minimalist aesthetic found in Marcel Breuer's furniture, while the organic shape of the seats is reminiscent of the natural forms championed by Alvar Aalto and Hans Wegner.\u003c\/p\u003e\n\u003cp\u003eThese chairs are perfect for enthusiasts of modernist and contemporary design, fitting seamlessly into interiors that feature furniture by designers like Eero Saarinen or Gio Ponti. The versatility of these chairs also makes them suitable for pairing with a wide range of table designs, from minimalist glass-topped tables to rustic wooden dining tables, ensuring they complement a wide range of interior styles.\u003c\/p\u003e\n\u003cp\u003esize: 31h x 20l x 17w seat height: 18\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46362532806843,"sku":"SET OF FOUR STACKING MOLDED PLYWOOD 'POTATO CHIP' CHAIRS","price":1225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20241026_145108871.jpg?v=1731710184"},{"product_id":"florence-knoll-parallel-group-lounge-chairs-for-knoll-associates-pair-c-1954","title":"FLORENCE KNOLL PARALLEL BAR LOUNGE CHAIR FOR KNOLL ASSOCIATES (d. 1955)","description":"\u003cp\u003eA \u003ci\u003eParallel Bar\u003c\/i\u003e armchair in its original red Knoll fabric. Designed by Florence Knoll in 1955, the \u003ci\u003eParallel Bar System\u003c\/i\u003e of furniture included both seating and surfaces. Conceived initially for corporate offices, it soon found its way into modern residential interiors. Valued for clean, tailored lines and superior construction, furniture designed by Florence Knoll is sought out by collectors and design enthusiasts alike. The \u003ci\u003eParallel Bar System\u003c\/i\u003e remained in continuous production until 1973.\u003c\/p\u003e\n\u003cp\u003eTwo available; priced individually.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFLORENCE KNOLL BASSETT (1917–2019, née Schust)\u003c\/b\u003e was an American architect, designer, and entrepreneur. She was born in 1917 in Saginaw, Michigan. Orphaned as a child, she was educated at the Kingswood School for girls, one of the Cranbrook Schools cofounded by philanthropists George and Ellen Booth along with Finnish architect Eliel Saarinen in Bloomfield Hills, Mich. The Saarinens all but adopted Knoll; she summered with the family in Finland and befriended son Eero. Saarinen encouraged Knoll to enroll at Cranbrook's Academy of Art, where she focused on architecture until 1939, with intervals of study at Columbia and the Architectural Association in London. In 1940, she was placed under the tutelage of Ludwig Mies van der Rohe at the Armour Institute (now the Illinois Institute of Technology) and also apprenticed for architects Marcel Breuer and Walter Gropius—all three of whom were pillars of the Bauhaus school. Van der Rohe would remain a lifelong mentor. The next year, she moved to NYC and worked for the architectural firm of Harrison \u0026amp; Abramovitz, through whom she met furniture manufacturer and retailer Hans Knoll. He recruited her as head of the Knoll Planning Unit and, in 1946, they were married. That same year, the company changed its name to KNOLL ASSOCIATES.\u003c\/p\u003e\n\u003cp\u003eKnoll was an enthusiastic and influential champion of well-known Bauhaus designers and architects, as well as newcomers such as Harry Bertoia. As a designer in her own right, she created tables, chairs, sofas, and storage solutions for KNOLL. She was also a major proponent of both ergonomics in interior space planning and the thorough integration of furniture with architecture. She was instrumental in selling the American public on modernist design and had a talent for persuading business executives to hire her firm to transform their offices. Her marketing experiences led her to coin the company’s motto: “Good design is good business.”\u003c\/p\u003e\n\u003cp\u003eIn 1951, the company was renamed Knoll International, and it expanded its business overseas. Upon her husband's death in 1955, Knoll took over as president. Three years later, she married banker Henry Hood Bassett. Knoll Bassett served as Director of Design at KNOLL until her retirement in 1965. She was honored with a National Medal of Arts in 2002. She donated her design archive to the Smithsonian Archives of American Art in Washington, D.C., in 2004. Knoll died in 2019 at the age of 101.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eKNOLL\u003c\/b\u003e was founded eponymously in 1938 in a small space on East 72nd Street in New York City as the Hans G. Knoll Furniture Company. Hans Knoll was born in Stuttgart, Germany, in 1914, into the successful furniture-making family behind Walter Knoll \u0026amp; Co. Early 20th-century Germany was a nexus of modernist design theory, which held that design should be rooted in the principles of rationality, functionalism, and mass production. It was notably expressed in the products and practices of the Deutscher Werkbund association of artists and industrialists and the influential Bauhaus school. This milieu had a lasting influence on Knoll, inspiring him to produce furniture for the new age. In 1937, after a stint in London, he moved to the US, bringing the modernist vision with him.\u003c\/p\u003e\n\u003cp\u003eLaunched as an import business, the Hans Knoll Furniture Company soon pivoted to manufacturing. Its first plant was opened in a former dance hall in East Greenville, Pennsylvania, in 1941, the year that Danish designer Jens Risom was hired. Risom would help with the development of the first, original KNOLL designs. Also in 1941, Hans met Florence Schust on an interior design project and, recognizing her exceptional taste and eye, hired her to court business with architects and interior designers and, later, to provide in-house planning and interior design expertise for a corporate clientele. In 1946, they were married, and the company was renamed KNOLL ASSOCIATES.\u003c\/p\u003e\n\u003cp\u003eThat same year, the Knoll Planning Unit was established to solidify the company’s role in interior design. In 1951, KNOLL ASSOCIATES changed its name to Knoll International, and its German and French arms were launched, producing designs especially for European markets. In 1955, Hans died in a tragic car crash; his widow remained actively involved in the company until her 1965 retirement ten years later.\u003c\/p\u003e\n\u003cp\u003eKNOLL’s signature pieces include Marcel Breuer’s \u003ci\u003eWassily\u003c\/i\u003e chair (1925), Mies van der Rohe’s \u003ci\u003eBarcelona\u003c\/i\u003e chair (1929\/1948), Harry Bertoia’s \u003ci\u003eDiamond\u003c\/i\u003e chair (1952), and Eero Saarinen’s \u003ci\u003eTulip\u003c\/i\u003e armchair (1957); as well as Florence‘s own furniture collection, developed through the 1950s. The impressive KNOLL catalog includes a who’s who list of midcentury and contemporary design figures, including Jens Risom, Alexander Girard, George Nakashima, Isamu Noguchi, Richard Schultz, Warren Platner, Charles Pollock, Andrew Morrison \u0026amp; Bruce Hannah, Vignelli Associates, Richard Sapper, Maya Lin, Frank Gehry, and Rem Koolhaas. Today KNOLL is especially focused on meeting the changing needs of the 21st-century workplace.\u003c\/p\u003e\n\u003cp\u003eHans Knoll was given the National Design Award for Corporate and Institutional Achievement by NYC's Cooper Hewitt Smithsonian Design Museum in 2011, in recognition of his legacy in American modern design and the emphasis of his work on the connection between design and quality of life. KNOLL pieces can be found in the permanent collections of institutions around the world; more than thirty have been acquired by New York’s MoMA.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI needed a piece of furniture. It was not there, so I designed it.\u003c\/i\u003e – FLORENCE KNOLL BASSETT\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eFLORENCE KNOLL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1955\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eKNOLL ASSOCIATES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCHROME; FABRIC; STEEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGood vintage condition with some imperfections consistent with age and use. Some fading to the fabric and minor scuffs to the steel.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e31\" W × 31\" D × 30\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e24\" W × 20\" D × 16\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArm Height – \u003cb\u003e21\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46363246100667,"sku":"FLORENCE KNOLL PARALLEL BAR LOUNGE CHAIR FOR KNOLL ASSOCIATES (EACH) d.1955","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/1000080629.jpg?v=1742155658"},{"product_id":"set-of-four-chrome-frame-dining-chairs-in-gray-ultrasuede","title":"CHROME-FRAME DINING CHAIRS IN CHARCOAL ULTRASUEDE (FOUR)","description":"\u003cp\u003eFour armless dining chairs from the late 20\u003csup\u003eth\u003c\/sup\u003e century, inspired by the designs of Milo Baughman (1923–2003). Their seats rest on modified sled bases, fashioned from squared-off tubular steel with a polished chrome finish and providing ample stability and a clean, contemporary profile. A classic Modern look, prized for its minimalist aesthetic.\u003c\/p\u003e\n\u003cp\u003eThe upholstery has been professionally cleaned and remains in very good condition, showing only minor signs of use. Although no labels are present, the quality of the materials indicates a high-design origin. Offered as a set.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMINIMALIST; CONTEMPORARY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCHROME, ULTRASUEDE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCHROME, CHARCOAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e21\" W × 24\" D × 33 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e21\" W × 18\" D × 18\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46562558771387,"sku":"CHROME-FRAME DINING CHAIRS IN CHARCOAL ULTRASUEDE (FOUR)","price":1595.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/197468217_1_x.webp?v=1743895456"},{"product_id":"harry-bertoia-side-chairs-for-knoll-pair","title":"CHROME BERTOIA SIDE CHAIRS WITH FABRIC SEAT PADS FOR KNOLL","description":"\u003cp\u003eA study in \"space, form, and metal,\" this conspicuously sculptural side chair by Harry Bertoia for KNOLL INTERNATIONAL is a genuine icon of mid-century America. First designed in 1951, its deceptively delicate appearance (Bertoia described the chair as \"mostly air\") belies its strength and durability. The chair works beautifully in every room and can complement virtually any décor. The back of the frame bears the authentic KNOLL stamp, and KNOLL is printed on the underside of the seat pad. Famously comfortable.\u003c\/p\u003e\n\u003cp\u003eTwo chairs available; offered\/priced individually.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHARRY BERTOIA (1915–1978)\u003c\/b\u003e was an Italian-born American sculptor, printmaker, and jewelry and furniture designer. He was born in the village of San Lorenzo d'Arzene in the province of Pordenone and immigrated to the U.S. at age 15 to live with his brother in Detroit. After high school, he attended the Detroit Society of Arts and Crafts, founded in 1906 to promote ideals of beauty and craftsmanship in an industrialized world. In 1937, he received a scholarship to the prestigious Cranbrook Academy of Art in Bloomfield Hills, Mich., where he taught metalworking and graphics, keeping company with such future luminaries as Charles (1907–1978) \u0026amp; Ray (1912–1988) Eames, Eero Saarinen (1915–1978), and Florence Knoll (1917–2019).\u003c\/p\u003e\n\u003cp\u003eIn 1946, Bertoia moved to Venice, California, to assist Charles Eames in developing processes for laminating and bending plywood. His contributions to the famous Eames chairs were crucial, although never much advertised. In 1950, Florence Knoll invited Bertoia to join her newly established factory in East Greenville, Penn. Knoll was confident that he would produce something extraordinary if allowed to experiment.\u003c\/p\u003e\n\u003cp\u003eThe resulting \u003ci\u003eBertoia Collection\u003c\/i\u003e, introduced by KNOLL in 1952, consisted of five light and airy seating elements made from grids of welded steel wire. It is recognized worldwide as one of the outstanding achievements of 20\u003csup\u003eth\u003c\/sup\u003e-century furniture design. (A sixth design, the \u003ci\u003eAsymmetric Lounge\u003c\/i\u003e, was only realized by KNOLL in 2005.) The chairs were produced with varying degrees of upholstery. Initially made by hand, a suitable mass-production process was hit upon relatively early. The commercial success of the collection was immediate, and it has been in continuous production worldwide since its introduction.\u003c\/p\u003e\n\u003cp\u003eBertoia ended his relationship with KNOLL in 1953 to concentrate on his true passion: sculpture. His prolific output included over 50 major public works and thousands of smaller pieces. From the late 1960s until his death, Bertoia's exclusive focus was on creating sculptures that produced sound. He created hundreds of such \"Sonambient\" sculptures—arrays of thin metal rods that chimed when swayed or touched. He recorded their unique musical \"songs\" and released eleven albums under a dedicated label.\u003c\/p\u003e\n\u003cp\u003eHarry Bertoia died from lung cancer in 1978 at the age of 63, likely caused by inhaling toxic metal fumes during his work. He is buried beneath one of his sculptures, a large gong suspended from a massive tripod.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eThe urge for good design is the same as the urge to go on living.\u003c\/i\u003e – HARRY BERTOIA\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eKNOLL\u003c\/b\u003e was founded eponymously in 1938 in a small space on East 72nd Street in New York City as the Hans G. Knoll Furniture Company. Hans Knoll (1914–1955) was born in Stuttgart, Germany, into the successful furniture-making family behind Walter Knoll \u0026amp; Co. Early 20th-century Germany was a nexus of modernist design theory, which held that design should be rooted in the principles of rationality, functionalism, and mass production. This was notably expressed in the products and practices of the Deutscher Werkbund, an association of artists and industrialists, and the influential Bauhaus school. This milieu had a lasting influence on Knoll, inspiring him to produce furniture for the new age.\u003c\/p\u003e\n\u003cp\u003eIn 1937, after a stint in London, he moved to the U.S., bringing the modernist vision with him. Launched as an import business, the Hans Knoll Furniture Company soon pivoted to manufacturing. Its first plant was opened in a former dance hall in East Greenville, Penn., in 1941, the year that Danish designer Jens Risom (1916–2016) was hired. Risom would help with the development of the first original KNOLL designs. Also in 1941, Hans met Florence Schust (1917–2019) on an interior design project and, recognizing her exceptional taste and eye, hired her to court business with architects and interior designers and, later, to provide in-house planning and interior design expertise for a corporate clientele. In 1946, they were married, and the company became KNOLL ASSOCIATES.\u003c\/p\u003e\n\u003cp\u003eThat same year, the Knoll Planning Unit was established to solidify the company's role in the field of interior design. In 1951, the company name was changed to KNOLL INTERNATIONAL, and its German and French subsidiaries were launched, producing designs especially for European markets. In 1955, Hans died in a tragic car crash; his widow remained actively involved in the company until her 1965 retirement ten years later.\u003c\/p\u003e\n\u003cp\u003eKNOLL's signature pieces include Marcel Breuer's \u003ci\u003eWassily\u003c\/i\u003e chair (1925), Mies van der Rohe's \u003ci\u003eBarcelona\u003c\/i\u003e chair (1929\/1948), Harry Bertoia's \u003ci\u003eDiamond\u003c\/i\u003e chair (1952), and Eero Saarinen's \u003ci\u003eTulip\u003c\/i\u003e armchair (1957); as well as Florence's own furniture collection, developed through the 1950s. The impressive KNOLL catalog includes a who's who list of midcentury and contemporary design figures. Today, KNOLL is primarily focused on meeting the changing needs of the 21st-century workplace.\u003c\/p\u003e\n\u003cp\u003eHans Knoll was given the National Design Award for Corporate and Institutional Achievement by NYC's Cooper Hewitt Smithsonian Design Museum in 2011, in recognition of his legacy in American modern design and the emphasis of his work on the connection between design and quality of life. KNOLL pieces can be found in the permanent collections of institutions around the world; New York's MoMA has acquired over thirty.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eHARRY BERTOIA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1951\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eKNOLL INTERNATIONAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTEEL, CHROME, FABRIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSILVER, INK BLUE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e21 ¾\" W × 19 ¾\" D × 28 ¾\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e18\" D × 17 ¾\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"PAUL BARDAGJY","offers":[{"title":"Default Title","offer_id":46839290069179,"sku":"CHROME HARRY BERTOIA SIDE CHAIR WITH FABRIC SEAT PAD FOR KNOLL, INTL. (2 AVAILABLE)","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/bertoia-wire-side-chair-chrome-black-fa_1_b1711e45-879e-481b-9dc6-1ec66ca49449.png?v=1756498321"},{"product_id":"molded-glass-benches-for-pace-collection-pair","title":"EARLY TEMPERED PLATE-GLASS ‘ONDA POUF’ BY VITTORIO LIVI FOR FIAM ITALIA (1973)","description":"\u003cp\u003eA glass stool by Vittorio Livi for FIAM ITALIA. Initially imagined while he was working in a glass factory in his late teens, the \u003ci\u003eOnda Pouf\u003c\/i\u003e (wave in Italian) was the design that led Vittorio Livi to launch FIAM ITALIA. The world’s first piece of furniture made from a single sheet of curved, tempered glass, its sinuous waterfall form is a marriage of technical innovation and Italian elegance. Original wooden glides intact.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eVITTORIO LIVI (b. 1944)\u003c\/b\u003e was born in Tavullia, a small inland town in the Marche region of Italy. He grew up the youngest of seven children in a farming family. They moved to the municipality of Pesaro on the Adriatic coast in 1951. After graduating from high school, Livi became an apprentice in a local glassworks at the age of fourteen. He was later employed there as a craftsman specializing in the production of stained glass.\u003c\/p\u003e\n\u003cp\u003eWhen he was eighteen, Livi launched his own business to produce decorated glass for furniture. The company, Fullet, was the first in a series of enterprises he founded that specialized in particular aspects of glassmaking: Artiglass (1963) created artistic stained glass windows; Cromoglass (1965) manufactured reflective glass, the first European facility to do so; Vellutart (1969) made glass accessories for the furniture sector; and Curvovetro (1970) was focused on the unique technology and expertise needed to bend glass.\u003c\/p\u003e\n\u003cp\u003eIn his late 20s, in 1973, Livi leveraged all the technical knowledge he had amassed, while also fostering brand recognition and product innovation, by consolidating his five businesses to form FIAM ITALIA. The firm quickly emerged as the preeminent player in the design and manufacturing of curved glass furniture. Livi’s vision was to use FIAM ITALIA to achieve nothing less than a transformation of the  public’s perception of glass—from a fragile, cold, and transparent material into a prestigious and versatile design element.\u003c\/p\u003e\n\u003cp\u003eThe company was a magnet for international designers and architects wanting to test the design limits of glass. Collaborations with such renowned artists as Enzo Mari (1932–2020), Philippe Starck (b. 1949), and Cini Boeri (1924–2020) demonstrated the firm’s technical mastery.\u003c\/p\u003e\n\u003cp\u003eIn 1988, Livi co-founded a limited liability company to restore the ancient walled village of  Montegridolfo, located about 20 km southeast of Rimini. In 1992, he purchased and restored Villa Miralfiore, a historic Renaissance-style residence in Pesaro, incorporating a unique museum dedicated to the exhibition of glass works created by renowned contemporary artists. “The Glass Museum” houses the world’s largest private collection of glass objects.\u003c\/p\u003e\n\u003cp\u003eLivi’s famous creations are displayed in more than twenty-five museums around the globe. He remains a significant figure at global design exhibitions and has received multiple awards that acknowledge his creativity and enduring impact on Italian design.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI immediately understood the allure and potential of glass, this material that represents our soul.\u003c\/i\u003e – VITTORIO LIVI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFIAM ITALIA\u003c\/b\u003e is headquartered in Tavullia, a small inland municipality in the Marche region of Italy, approximately 10 km from the Adriatic Sea coast, the birthplace of founder Vittorio Livi. FIAM is an acronym for \u003ci\u003eFabbrica Italiana Arredamenti Moderni\u003c\/i\u003e (Italian Factory of Modern Furniture).\u003c\/p\u003e\n\u003cp\u003eFounded in 1973, FIAM was established to revolutionize the use of curved glass in furniture design. Their signature piece, the \u003ci\u003eOnda Pouf\u003c\/i\u003e, a stool made from a single sheet of curved glass, became a symbol of the company’s innovation and, indeed, a symbol of “Made in Italy” design.\u003c\/p\u003e\n\u003cp\u003eFIAM ITALIA is world-renowned for its expertise in shaping and bending glass, to wit, the ‘Ghost’ chair, created in partnership with designer Cini Boeri (1924–2020) in 1987. Crafted from a 12-mm-thick sheet of glass, this iconic armchair is folded in the style of origami. The firm’s collaborations soon expanded to include other distinguished designers and architects–including Marcel Wanders (b. 1963), Arik Levy (b. 1963), and Massimiliano Fuksas (b. 1944)–further cementing its reputation. The artists always worked closely with the company’s skilled glass masters to bring their ideas to life, using the most advanced industrial processes.\u003c\/p\u003e\n\u003cp\u003eMore recent collections have begun to explore further the boundaries of glass, striving for earthier, warmer, and multi-color forms that will pave the way for a new era of innovation. FIAM ITALIA’s designs have been celebrated globally, with products displayed in museums in New York and Rome.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eVITTORIO LIVI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1973\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFIAM ITALIA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTRANSPARENT, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. A few flea bites on the glass edges, as should be expected from age and use. May show minor signs of previous ownership.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e22 ½\" W × 13 ½\" D × 16 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Height – \u003cb\u003e16\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e\u003chr\u003e","brand":"PAUL BARDAGJY","offers":[{"title":"Default Title","offer_id":46839320117435,"sku":"EARLY TEMPERED PLATE GLASS 'ONDA POUF' DESIGNED BY VITTORIO LIVI FOR FIAM ITALIA (1973)","price":1475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250823_173551.jpg?v=1755991547"},{"product_id":"tuxedo-arm-wren-sofa-in-beigh-leather-by-bill-sofield-for-baker-furniture","title":"TUXEDO-ARM ‘WREN’ SOFA IN BEIGE LEATHER BY BILL SOFIELD FOR BAKER FURNITURE","description":"\u003cp\u003eThis beautiful, tuxedo-style \u003ci\u003eWren\u003c\/i\u003e sofa by William Sofield for BAKER FURNITURE features flaring arms and a slightly curved back. It has been upholstered in off-white, top-grain leather with a tight back and three loose seat cushions. Accented with decorative buttons, the welt–framed back and sides, along with the tapering, round, terraced legs capped with brass ferrules, complete the look. Named for the great English architect, Christopher Wren (1632–1723), who rebuilt much of London after the Great Fire of 1666, this highly structured sofa is a piece of interior architecture in its own right, and a signature object in BAKER FURNITURE’s \u003ci\u003eBill Sofield Collection\u003c\/i\u003e. Modern and meticulously detailed, it can either float in the center of a room or anchor a wall.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eWILLIAM SOFIELD (b. 1961)\u003c\/b\u003e was raised in Metuchen, N.J., a suburb of New York City. After earning a BA in architecture and urban planning from Princeton University in 1983, and subsequently receiving a Helena Rubinstein Foundation Grant through the Whitney Museum, Sofield moved to Manhattan and took a job with Ralph Lauren during the creation of the brand’s seminal flagship store, the Neo-Renaissance mansion on the corner of Madison and 72\u003csup\u003end\u003c\/sup\u003e Street. Following a three-year apprenticeship with an Italian woodworker on the Upper East Side, Sofield and fellow Ralph Lauren alumnus, interior designer Thomas O’Brien (b. 1961), opened Aero Studios in the early 1990s.\u003c\/p\u003e\n\u003cp\u003eSofield’s subsequent climb to stardom can be credited to a remarkable talent for reinterpreting modernism, characterized by a striking blend of virtuosity and dramatic flair. In 1996, he founded his own firm, Studio Sofield; its impressive portfolio of shops, hotels, clubs, and residences, designed for cultural luminaries such as Tom Ford, Ralph Lauren, Yves Saint Laurent, Madonna, and Mary-Kate Olsen, exhibits a sophisticated idiosyncrasy informed by a deep passion for history, craft, and detail. Sofield is now regarded as one of the most thoughtful design talents of his generation and a master of Modernism. \u003ci\u003eInterior Design\u003c\/i\u003e magazine has described him as “a choreographer of spaces,” whose design approach allows for the character of a room to unfold over time. In a like manner, his furniture and product designs anticipate the future of each object, planning for its improvement with use and age, as it eventually becomes a treasured heirloom.\u003c\/p\u003e\n\u003cp\u003eRestrained, mature, and with a sultry, masculine edge: William Sofield’s residential, hospitality, and commercial spaces have epitomized modern luxury for over two decades. Sofield has shepherded such well-heeled brands as Coach, YSL, and Harry Winston, along with the influential Soho Grand Hotel. His eponymous studio is a member of the AD100 Hall of Fame and was listed as an honoree as recently as 2023.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI think sometimes good design just feels inevitable—like it couldn't have been any other solution. It almost goes away.\u003c\/i\u003e – WILLIAM SOFIELD\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBAKER FURNITURE\u003c\/b\u003e was founded as an interior woodwork and door company in 1890 by Dutch immigrant Siebe Baker (1852-1925) in Allegan, Mich., just west of Grand Rapids. It manufactured its first piece of furniture three years later: a combination desk and bookcase. Siebe’s son, Hollis S. Baker (1888-1966), joined the firm as a salesman in 1910 after graduating from the University of Michigan.\u003c\/p\u003e\n\u003cp\u003eThe company ventured into Modernism in 1925 with the debut of an Art Deco collection, \u003ci\u003eTwentieth Century Shop\u003c\/i\u003e. Several pieces from designer Donald Deskey were included. Upon Siebe’s death that year, Hollis was named president of the firm. By the end of the decade, BAKER FURNITURE stood at the forefront of the Modern movement among furniture manufacturers in the US.\u003c\/p\u003e\n\u003cp\u003eBAKER premiered a line of bedroom furniture from Austrian-American stage designer Joseph Urban in 1927 and introduced pieces from noted modernist Kem Weber. It rolled out the first great furniture reproduction program in America, the \u003ci\u003eManor House Collection\u003c\/i\u003e, in 1932. (Designs were mainly English, crafted by experts hand-picked from Europe.) In 1934, BAKER introduced Chinese Modern design to an American audience at the Chicago World’s Fair. Hollis organized over 1,500 antiques in the early ’40s into one of the world's largest private furniture collections.\u003c\/p\u003e\n\u003cp\u003eBAKER FURNITURE introduced the \u003ci\u003eFar East Collection\u003c\/i\u003e in 1949, the first truly Asian furniture collection manufactured in the US. The next year, it popularized Italian neoclassic design with the debut of its \u003ci\u003ePalladian Collection\u003c\/i\u003e, based on a study of museum originals. BAKER partnered with acclaimed architect Finn Juhl in 1951 to create the first Danish Modern furniture collection designed specifically for the American market. The Grand Rapids Chair Co. was acquired in 1957, and production of a line of simpler, less costly pieces under BAKER’s \u003ci\u003eMilling Road\u003c\/i\u003e label was begun.\u003c\/p\u003e\n\u003cp\u003eWhen Hollis S. died in 1966, his son Hollis M. Baker, who would explore new niches in the luxury market, became president. A new facility was opened in Mocksville, N.C., to produce high-quality machine-made furniture. Collections introduced in the ’60s and ’70s included lines of country English and French Provincial furniture, as well as high-end executive desks. Notable was \u003ci\u003eWoburn Abbey\u003c\/i\u003e (1969), which featured reproductions of 25 choice English antiques from the home of the Duke of Bedford. BAKER FURNITURE merged with a leading showroom network in 1972 to form Baker, Knapp \u0026amp; Tubbs, which remains one of the largest wholesale distributors in the industry. A year later, it entered the upholstery business with a plant located in High Point, N.C. Finding inspiration in one of the New World’s most fashionable, furniture-forward capitols, BAKER launched the \u003ci\u003eHistoric Charleston Collection\u003c\/i\u003e in 1976.\u003c\/p\u003e\n\u003cp\u003eIn 1980, Italian interior designer Alessandro Gambrielli Gambalogna released a small collection of avant-garde occasional and dining room pieces with BAKER known simply as \u003ci\u003eAlessandro\u003c\/i\u003e.  A year later, BAKER unveiled its \u003ci\u003eStately Homes Collection\u003c\/i\u003e: copies of originals found in celebrated castles and estates in the UK. The exuberant reception of John Saladino’s 1984 \u003ci\u003eFaçade Collection\u003c\/i\u003e affirmed BAKER’s lasting importance to designers around the world.\u003c\/p\u003e\n\u003cp\u003eKohler Co. acquired BAKER FURNITURE in 1986 and made it the cornerstone of its Interiors Group. Further design successes marked the late ’80s: the \u003ci\u003eCharles Pfister Collection\u003c\/i\u003e of Art Deco furniture and the \u003ci\u003eMcMillen Collection\u003c\/i\u003e of continental furniture drawn from the archives of the eponymous New York design firm. \u003ci\u003eMilling Road\u003c\/i\u003e was revived as a division in 1990, once again offering less formal, more livable furniture at lower price points. That same year, the Smithsonian inducted the #789 Chippendale Chair into its permanent collection. In 1996, the \u003ci\u003eBarbara Barry Collection\u003c\/i\u003e debuted, featuring designs by the California-based artist that drew on 1930s Hollywood glamour.\u003c\/p\u003e\n\u003cp\u003eFrom 2000 to 2015, BAKER launched collections from celebrated designers William Sofield, Thomas Pheasant, Laura Kirar, Michael S. Smith, and Jacques Garcia; the \u003ci\u003eCollector’s Edition\u003c\/i\u003e (2005), inspired by classic European designs; and extraordinary lines from design luminaries Tony Duquette and André Arbus (2008-09). Hollywood royalty experienced BAKER FURNITURE elegance firsthand when the company was asked to furnish the Green Rooms for the Academy Awards presentations in 2011 and 2013. During this period, the company also provided furniture for a VIP lounge at Mercedes-Benz Fashion Week for three years running. A flurry of international showroom openings—Paris, Moscow, Singapore, and three cities in China—punctuated this later era.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eWILLIAM SOFIELD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e2001\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAKER FURNITURE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERNIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eLEATHER, WOOD, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBEIGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e87 ½\" W × 34\" D × 29\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e73\" W × 23\" D × 20\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArm Height – \u003cb\u003e29\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e3\u003c\/b\u003e\u003c\/p\u003e","brand":"THOMAS NELSON","offers":[{"title":"Default Title","offer_id":46876065792187,"sku":"TUXEDO ARM 'WREN' SOFA IN BEIGH LEATHER BY BILL SOFIELD FOR BAKER FURNITURE","price":5542.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Screenshot_20250816_190103_AdobeAcrobat.jpg?v=1755389003"},{"product_id":"four-side-chairs-by-norman-cherner","title":"SET OF FOUR WHITE LACQUER  STACKING CHAIRS BY NORMAN CHERNER","description":"\u003cp\u003eFour, well-worn, white-lacquered side chairs designed in 1958 by Norman Cherner for Plycraft of Lawrence, Mass. These late-model stackables date back to 2003, Cherner’s sons having founded the CHERNER CHAIR COMPANY in 1999 to revive their father's designs. The finish is somewhat worn but intact, with no chipping or flaking. Offered as a set.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eNORMAN CHERNER (1920–1987)\u003c\/b\u003e was an American architect and designer. Although best known for his work in furniture, his career encompassed almost all aspects of design: from graphics, glassware, and lighting to his pioneering work in prefabricated housing. Born in Brooklyn, he studied and taught at the Columbia University Fine Arts Department and served as an instructor at MoMA in New York from 1947 to 1949. Training in the Bauhaus tradition led to a lifelong exploration committed to the integration of creative expression with industrial production. An innovator in plywood and affordable design, he was fascinated with the creation of mass-market pieces that would fit into the small-scale, low-cost dwellings of post-war American life.\u003c\/p\u003e\n\u003cp\u003eCherner’s designs are part of the iconography of the mid-20\u003csup\u003eth\u003c\/sup\u003e century. Since their introduction nearly fifty years ago, his chairs, tables, and case goods have demonstrated enduring popularity. He is, of course, best known for one particular piece—the eponymous \u003ci\u003eCherner\u003c\/i\u003e chair, designed in 1958 for Plycraft, a manufacturing company in Lawrence, Mass. Made from molded plywood, the story of its creation and development is one of innovation, controversy, and betrayal. Fortunately for his fans around the world, the story has a happy ending.\u003c\/p\u003e\n\u003cp\u003eAfter telling Cherner that his 1958 design had been scrapped, Plycraft’s owner, Paul Goodman, continued to produce it, claiming himself as the designer, under the pseudonym “Bernardo.” Soon after, the chair’s popularity was sealed when it appeared in Norman Rockwell’s (1894–1978) 1961 painting, \u003ci\u003eThe Artist at Work\u003c\/i\u003e, on the cover of \u003ci\u003eThe Saturday Evening Post\u003c\/i\u003e. Cherner sued the company, and Plycraft agreed to pay Cherner royalties; however, the entire seating line was out of production by the early 1970s. (The design is sometimes still referred to as the “Rockwell” chair.)\u003c\/p\u003e\n\u003cp\u003eFor almost two decades, Cherner’s seating was rarely seen outside of galleries and museums—and the living rooms of a few lucky collectors. This all changed in 1999, when Cherner’s sons, Benjamin and Thomas, formed the CHERNER CHAIR COMPANY to revive their father’s original designs and produce them according to his specifications. The rekindled success of the chairs inspired Benjamin, an architect and designer in his own right, to create a coordinating table, the \u003ci\u003eCherner Table\u003c\/i\u003e, in 2004.\u003c\/p\u003e\n\u003cp\u003eToday, the CHERNER CHAIR COMPANY is the sole licensor of Cherner’s designs. Still produced in the USA, the classic version of the chair is made from walnut-veneered, laminated plywood of graduated thickness and is available in ten different finishes. It is durable enough to last a lifetime and can be passed down through generations. Without arms, the chair is perfect for dining; with it makes an elegant office chair. The design is also available as a bar stool.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCHERNER CHAIR COMPANY\u003c\/b\u003e was formed in 1999 by brothers Benjamin (b. 1956) and Thomas (b. 1958) Cherner in response to requests from fellow architects to reissue their father’s mid-century furniture designs. They brought back into production many of the most popular pieces, manufacturing them with the same attention to detail found in the original hand-made classics.\u003c\/p\u003e\n\u003cp\u003eCHERNER products are made to last and be cherished, and the company is “committed to a world where less furniture is manufactured.” All product components are replaceable, ensuring that their chairs, tables, and stools can be kept in service indefinitely.\u003c\/p\u003e\n\u003cp\u003eIn addition to reviving Norman Cherner’s work, CHERNER has introduced new designs by Benjamin Cherner.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eNORMAN CHERNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1958\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCHERNER CHAIR COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e2003\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003ePLYWOOD, STEEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, SILVER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eFair vintage condition. Finish is worn but intact—no chips, flakes, cracks, or structural issues.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e19\" W × 21\" D × 31 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Height – \u003cb\u003e18\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"ALLISON BURKE","offers":[{"title":"Default Title","offer_id":46879113150651,"sku":"SET OF FOUR WHITE LACQUER  STACKING CHAIRS BY NORMAN CHERNER","price":696.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250821_180010_766654f6-8b9e-486b-8649-1f6f128197ee.jpg?v=1755885276"},{"product_id":"italian-made-white-leather-pavilion-chairs-pair","title":"ITALIAN-MADE WHITE LEATHER PAVILION CHAIRS (PAIR)","description":"\u003cp\u003eThese luxurious reproductions of German-American architect Ludwig Mies van der Rohe's (1886–1969) \u003ci\u003ePavilion\u003c\/i\u003e chair are direct descendants of the iconic seating he created for the German Pavilion at the Barcelona International Exposition in 1929. Architectural in form, their angled seats provide a comfortable yet supportive position for the sitter.  Mies van der Rohe granted exclusive manufacturing and sales rights for the design to Knoll, Inc., in 1953, and the “Barcelona” has remained in continuous manufacture ever since. Opulently crafted in Italy, these high-quality copies feature 12-mm solid-core stainless steel frames that have been hand-buffed to a mirror finish. Joints are all fully welded, sealed, and seamless. The cushions are attached to the frame by four snaps on the back and three belts, riveted to the frame, on the seat, and filled with high-resilience, high-density polyurethane foam. Their surfaces consist of 40 top-grain, premium white leather panels, each hand-selected, piped, tufted, and individually sewn by expert craftsmen. Buttons are roughly the size of a dime and made with the same leather. Offered as a set.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eThe Pavilion Chair was created to seat the Spanish King and Queen, Alfonso XIII and his consort Victoria Eugenia, during the opening ceremony of the German Pavilion. Known variously as \u003ci\u003eThe Pavilion\u003c\/i\u003e, \u003ci\u003eThe Barcelona\u003c\/i\u003e, and \u003ci\u003eThe Exposition\u003c\/i\u003e chair, it was conceived in partnership with Lilly Reich (1885–1947) and reflects the pair's previous work on the interiors of the Tugenhadt Villa in Brno, in Czechoslovakia. As one of the most recognized objects of the past century, the Pavilion Chair radiates a simple elegance that embodies Mies van der Rohe's famous maxim, “less is more.” Indeed, in his 1981 book, \u003ci\u003eFrom Bauhaus to Our House\u003c\/i\u003e, novelist Tom Wolfe called it “the Platonic ideal of the chair.” It should be noted, however, that being designed to accommodate royalty, the Pavilion chair appears to flout a central aim of the architects and furniture designers of the Bauhaus: to create well-designed homes and impeccably manufactured furnishings for \u003ci\u003ethe general populace!\u003c\/i\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBAUHAUS; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eLEATHER, STAINLESS STEEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30 ½\" W × 29\" D × 31\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e30 ½\" W × 19\" D × 18\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47166794858683,"sku":"ITALIAN MADE WHITE LEATHER PAVILION CHAIRS (PAIR)","price":1895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251101_132906.jpg?v=1762553861"},{"product_id":"first-generation-eames-dkx-wire-chair-with-white-bikini-pad-1954","title":"FIRST GENERATION EAMES DKX WIRE CHAIR WITH WHITE BIKINI PAD (1951-1954)","description":"\u003cp\u003eThis first-generation DKX by Charles and Ray Eames for Herman Miller is in good vintage condition with minor damage\/repairs to the bikini pad, which is also missing its button attachment.  All four early slip-on glides are present, but show their age and wear.  The chair itself is in excellent condition, with all original welds and hardware.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCHARLES (1907–1978) \u0026amp; RAY (1912–1988) EAMES\u003c\/b\u003e were a married team of American industrial designers. Their creativity and drive helped shape the trajectory of the 20\u003csup\u003eth\u003c\/sup\u003e century in the US. The couple's lives and work represent many of the seminal developments of the post-war period: the West Coast's emergence as a cultural hub, the shift away from manufacturing toward the production of information, and the expanding global reach of American culture.\u003c\/p\u003e\n\u003cp\u003eThe Eameses viewed modern design as a catalyst for social change. Their evolution from furniture designers into cultural ambassadors spoke not only to their boundless talent but also to the overlap between their interests and America's national agenda. In an era of uniquely shared objectives, the Eameses partnered with both the federal government and top businesses to spearhead commercial modernization.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBegun in the late 1940s, the partnership between the Eameses and the manufacturer HERMAN MILLER would evolve into what is the most legendary collaboration in the history of modern furniture. The extensive range of designs that were produced serves as a testament to this fact.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eWhoever said that pleasure wasn't functional?\u003c\/i\u003e – CHARLES \u0026amp; RAY EAMES\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHERMAN MILLER\u003c\/b\u003e was founded in 1905 as the Star Furniture Co. in Zeeland, a town near Grand Rapids in western Michigan. Zeeland had been settled primarily by Dutch immigrants, many of whom brought with them a legacy of skills in the crafting of fine furniture. By 1900, Grand Rapids and environs had become a hub for its production.\u003c\/p\u003e\n\u003cp\u003eIn 1919, Star Furniture was renamed the Michigan Star Furniture Co., and Dirk Jan \"DJ\" DePree (1891-1990), who had been hired as a clerk, became its new president. Along with a small group of local businessmen, DePree and his father-in-law, Herman Miller, purchased 51% of the company in 1923 and rechristened it HERMAN MILLER.\u003c\/p\u003e\n\u003cp\u003eThe company had historically been a manufacturer of high-end, traditional-style home furnishings based on modified European designs. With the arrival of the Great Depression, DePree was forced to consider new products to survive in a shrinking market. In 1931, he was approached by the industrial designer Gilbert Rohde (1894-1944), who reportedly entered the showroom unannounced. DePree listened to Rohde's ideas and, attracted by his straightforward approach, hired him to design a new line of furniture. Rohde speculated that the shrinking size of modern homes would inspire a demand for a smaller, simpler, and lighter furniture style, which DePree referred to as \"more honest\" than that of traditional pieces. So began the transformation of HERMAN MILLER into the modern furniture juggernaut it would become.\u003c\/p\u003e\n\u003cp\u003eHERMAN MILLER debuted its new line at the Century of Progress exposition in Chicago. In 1941, the company opened showrooms in Chicago and New York City. Under Rohde's supervision, HERMAN MILLER entered the office furniture market in 1942 with the introduction of the modular \u003ci\u003eExecutive Office Group\u003c\/i\u003e (EOG).\u003c\/p\u003e\n\u003cp\u003eRohde died in 1944 and was replaced by architect George Nelson (1908-1986), who joined the firm as its director of design in 1945. Nelson was to have enormous influence upon HERMAN MILLER, not only for his personal design contributions, but also for the talented designers he recruited to its ranks—Isamu Noguchi (1904–1988), Charles (1907–1978) \u0026amp; Ray (1912–1988) Eames, Robert Propst (1921–2000), and textile designer Alexander Girard (1907–1993). HERMAN MILLER was incorporated in 1960 and remains in business today as one of the world's top producers of office furniture.\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47244669386939,"sku":"FIRST GENERATION EAMES DKX WIRE CHAIR WITH WHITE BIKINI PAD (1951-1954)","price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251205_172644.png?v=1764977743"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/collections\/chairs-2514161_1920.jpg?v=1660333479","url":"https:\/\/modernredux.myshopify.com\/collections\/seating.oembed","provider":"MODERN REDUX","version":"1.0","type":"link"}