Pair of Original Vintage Black Leather & Chrome Walter Knoll Brno Armchairs

Architect, furniture designer and educator, Ludwig Mies van der Rohe was a central figure in the advancement and promotion of modernist design and architectural theory and practice. Like Frank Lloyd Wright and Le Corbusier, he was a hugely influential presence in the field, who shaped the course of 20th-century architecture both through his buildings and his teaching of rationalist design principles. 

Born in the medieval German city of Aachen, Mies found an interest in architecture as a boy while working for his father, a master stonemason. He had no formal education as an architect, but learned his skills as an apprentice to the designer Bruno Paul, and as a staffer in the office the proto-modernist architect and designer Peter Behrens. Following World War I, Mies rose to prominence in his field amid the liberal atmosphere of the Weimar Republic. His reputation was secured by his work on the German Pavilion at the 1929 International Exposition in Barcelona (commonly referred to as the Barcelona Pavilion) — which Mies codesigned with Lilly Reich, his creative and romantic partner — a radically simple, poetic, open-plan building pared down to its architectural essentials. Mies would go on to direct the Bauhaus from 1930 until 1933, when Nazi-government interference forced the closure of the progressive art and design school. Later that decade, he made his way to Chicago, where he remained for the rest of his career as a practicing architect and a dean of the Illinois Institute of Technology.

Mies’s famed dictum “less is more” grew from his belief that architecture both guides and expresses the spirit of the times, and he envisioned the 20th century as open-minded, logical, transparent and liberated by technology. His best-known buildings — residences such as the Villa Tugendhat in Czechoslovakia and the Farnsworth House in rural Illinois; skyscrapers like the 860–880 Lake Shore Drive apartment towers in Chicago and the Seagram Building in New York — reflect that philosophy. As do the most famous furniture designs authored by him or codesigned with Reich. 

Pieces designed by Mies and Reich such as the Barcelona chair (the authorized version is produced by Knoll today), stools and daybed, or the cantilevered Brno chairs, deliver a maximum of comfort and support from a minimum of materials: their “lavishness” derives from the precision with which they are engineered and constructed. For the collector, the allure of Mies’s furniture is at once practical and idealistic. Useful and functional, his works embody the highest aspirations of modernism.

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Inspired by the Bauhaus — founded in 1919 by Walter Gropius — Walter Knoll decided to bet big on modernism. He launched his eponymous German furniture maker in 1925, and the company has been going strong ever since.

Most design lovers are familiar with Knoll, the manufacturer of furniture by Eero Saarinen, Harry Bertoia, Marcel Breuer, Ludwig Mies van der Rohe and other modernist giants. It was founded by Hans Knoll in 1941 and led after his death by his wife, Florence Knoll, the doyenne of postwar American office interiors. In recent years, the company has added collections by Maya Lin, Rem Koolhaas, Frank Gehry and David Adjaye, among others, and encouraged customers to do what some of them had been doing all along: use Knoll’s “office furniture” at home.

Fewer Americans are familiar with Walter Knoll, the company Hans’s father founded in Stuttgart, Germany, in 1925 and later moved to nearby Herrenberg. That company has existed in the shadow of the larger U.S.-based Knoll for decades.

Both companies descended from the German manufacturer of ornate leather goods established by Wilhelm Knoll in 1866. In 1907, Wilhelm’s sons, Willy and Walter, took over the father’s business and started producing leather club chairs. Five years later, the company introduced its Nestra line of stripped-down wood and leather seating, foreshadowing the family’s future innovations.

In 1925, when he was 50, Walter Knoll launched the Walter Knoll Company, which soon released the revolutionary Prodomo line of chairs, whose upholstered seats and backs are supported by tubular metal frames. Other lightweight Walter Knoll pieces were used in the passenger compartment of the Hindenburg zeppelin.

In 1927, Walter Knoll furnished five apartments designed by Ludwig Mies van der Rohe for the Weissenhof Estate, 21 prototypes of “workers’ housing of the future” constructed as part of an exhibition in Stuttgart. A decade later, Walter’s son Hans, then 24, traveled to the United States to market his father’s furniture and to make a new life for himself in the New World. But inspired by his encounters with Jens Risom — a Danish-born designer who furthered Scandinavian modernism in the United States — Hans broke away from Walter, creating Knoll Associates (now known simply as Knoll). Florence Schust (later to become Hans’s wife) joined him in the company in 1943, and soon they were working with mid-century modern icons such as Saarinen and Bertoia on new designs and licensing Mies’s Barcelona chair.

After the war, with his factories destroyed and labor and materials in short supply, Walter Knoll turned to Hans for help. Hans sent over several pieces from his Vostra line, designed by Risom. Walter replaced the web seats with upholstery and launched his version of the Vostra at the New Living exhibition in Cologne in 1949. It became hugely successful, persuading many Germans still accustomed to traditional furniture to give modernism a go.

Walter Knoll retired in 1964, but his namesake firm continued growing in Germany. Just like the American Knoll, Walter Knoll has found that some customers want to use pieces originally meant as office furniture in their houses. In fact, these pieces give living and dining rooms a crispness that almost no residential furniture can match.

Find vintage Walter Knoll lounge chairs, sofas, tables and other furniture on 1stDibs.