Bukowskis_Hans J Wegner Collection_No E 403_August 2019

HANS J. WEGNER (1914–2007) FIRST AND FOREMOST A CRAFTSMAN

Lot no: 1144666

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HANS J. WEGNER COLLECTION | E403 Viewing August 21–27

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Online auction August 28

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Berzelii Park 1, Stockholm

CONTENTS Hans J. Wegner (1914–2007) First and foremost a craftsman.. .................................................................................................. 9 Børge Mogensen – the friendship and the Danish School of Arts and Crafts..................................................... 10–13 Nyborg Public Library.. . . . . . . . . . . . . . . . . . . . . ................................................................................................................................................................ 14–15 Aarhus City Hall.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................................................................................................................................................................. 16–19 Plan Møbler.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............................................................................................................................................................. 20–27 Mikael Laursen.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................................................................................................................................................................ 28–31 FDB.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................................................................................................................................................................ 32–33 Fritz Hansen.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................................... 34–37 Palle Suenson.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................................... 38–39 Competitions – striving for perfection.. ............................................................................................................................................. 40–41 Johannes Hansen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............................................................................................................................................................. 42–49 The Copenhagen Cabinet Maker’s Guild’s annual furniture exhibitions. . ................................................................ 50–51 SALESCO.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................................... 52–57 PP Møbler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............................................................................................................................................................. 58–59

Catalogue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................................ 61–108

For inquiries please contact Specialist Design & 20th–21st Century Works of Art Jonatan Jahn +46 (0)703 92 88 60 jonatan.jahn@bukowskis.com

Cover: ‘The Chair’, model ‘JH501’, Lot no: 1144666.

Specialist Design & 20th Century Works of Art Eva Seeman +46 (0)708 92 19 69 eva.seeman@bukowskis.com

Specialist Design & 20th Century Works of Art Camilla Behrer +46 (0)708 92 19 77 camilla.behrer@bukowskis.com

Lot no: 1144413

THE BOY WHO DREAMED OF A MUSEUM My name is Lasse Andersen and I am the founder of The Danish Modern Museum.

Many years ago I asked myself, who is documenting Danish Modern, the designers and their work? Unfortunately, I didn’t find a clear answer. In just a few years, all of the earliest employees, their close family and business partners are gone and invaluable knowledge will be lost for posterity.

There are details and stories that should have been documented 30 years ago when the designers, the furniture makers and the cabinet makers who carried out the furniture still lived.

Therefore, I decided 15 years ago to start my project regarding the complete works of several Danish modern designers, as it surprised me that neither Danish nor international museums worked intensively on the matter. Danish Modern Museum is therefore the result of intense search for rare furniture, people, literature and documentation during the years. A concept with the vision of making international exhibitions and theme auctions around the world.

For me, it all started with Hans J. Wegner and since I was 13 years old I have been collecting his furniture. My dream was to contribute too a large and international Wegner Museum with research and furniture from all his projects and collaborations. Unfortunately and for several different reasons, it never happened, so now is the time for me personally to move on, sell my collection (with a few contributions from others) and focus on other designers.

With this auction I want to tell and show the story of the golden age of danish furniture from the 1930's to the 1970's. It tells a story about international design tradition and its development. A chair made by Hans J. Wegner represents more than just a chair. His furniture is a story about Danish cabinet makers, craftsmenship, traditions, society as well as an illustration of the new industriel metods introduced during the 1940's, 1950's and 1960's.

Danish modern furniture illustrate how lack of materials forced cabinet makers and designers to think outside the box. Several of them saw and utilized the quality of nordic materials and combined it with good craftmanship why they pushed Danish design beyond the borders of the country. Designers like Wegner became first movers.

Abroad they call it Danish Modern. An era that defined a chapter in design history. Denmark was put on the world map for its ground– breaking contemporary furniture and the interest in Danish design is extensive around the world. Unfortunately, what people find is only the tip of the iceberg. Let us tell and maintain the story of Danish Modern before it melts away. One of the most interesting chapters (in my opinion) is about Hans J. Wegner.

Now is the time and possibility to buy a piece of history.

Lot no: 1144737

HANS J. WEGNER (1914–2007), FIRST AND FOREMOST A CRAFTSMAN ‘I feel more like a craftsman than an architect. I think more like a craftsman, and if I am in doubt, I say to myself: What would you do if you had these materials? What would you do as a craftsman? You don’t make it more difficult than it needs to be.’

The quote comes from an interview with Hans Jørgensen Wegner in connection with an exhibition at the Aarhus School of Architecture in 1989. The reason for the exhibition was Hans J. Wegner’s seventy–fifth birthday, and it is very telling that the rare interview was conducted

by Wegner’s close friend and personal assistant, Bernt Petersen.

Hans J. Wegner did not seek the media spotlight, preferring to let the furniture speak for itself. The story of Hans J. Wegner is thus the story of the chairs, and of the furniture, but first and foremost, it is the story of a craftsman.

‘I believe that the feeling you get from doing good work is of invaluable importance. And I almost believe that all work is interesting if you can do it properly and if you become good at it. Master it.’

With this quote, Wegner describes himself, his ideals and his childhood. Hans J. Wegner was born on 2 April 1914 and grew up as the son of a cobbler, Peter Wegner, in the town of Tønder in Southern Jutland. Wegner showed signs of his craftsmanship and his artistic abilities early on, and throughout his childhood he spent time doing paper cutting, watercolour drawings and carving wooden figures.

In his youth, Wegner dreamed of becoming a cabinetmaker or a wood carver, and in 1928 his wish was fulfilled. Wegner was taken on as an apprentice by a local master cabinetmaker, H.F. Stahlberg, and throughout his time in the workshop he demonstrated creativity and impressive abilities as a cabinetmaker. Wegner designed and made his first chair at the age of 15.

‘I think I learn something every time I design a new chair. The term ‘chair’ does not exist for me. It is only a step along the way. I almost feel as though I am gathering knowledge that someday will enable me to make the perfect chair – but it's probably just a dream.’

The dream of the furniture designer who created the chair the Americans call ‘The Chair’ was, paradoxically, to create just one good chair during his lifetime. Whether it is Wegner’s pursuit of the perfect that is at the heart of his vast production is uncertain. The fact is, however, that Hans J. Wegner is without parallel, being one of the world’s most productive designers with a portfolio of more than 500 chairs.

Wegner’s career began in 1931, when he completed his apprenticeship as a cabinetmaker at the age of 17. For the next three years Wegner worked for H.F. Stahlberg in Tønder, but in 1934 he left the workshop and went to Copenhagen to perform his military service. In the capital, Wegner discovered the Copenhagen Cabinet Makers’ Guild’s annual Furniture Exhibitions, which fascinated him and aroused an interest in craftsmanship. Wegner sought to improve and develop as a craftsman, so after completing his military service he enrolled in a 2 ½ month carpentry course at the Danish Technological Institute. During the course, Wegner visited the Danish School of Arts and Crafts and was introduced to the furniture design programme. The impressions gained ignited his creativity, and in 1936 Wegner was accepted as a student at the school.

As its name suggests, the school combined both arts and crafts and Wegner distinguished himself on both counts. While he was there, artist Victor Isbrand and instructor Aage Rafn both therefore advised Wegner to change direction. Hans J. Wegner exhibited such impressive artistic qualities that the two suggested he become a portrait painter instead of a furniture designer. Wegner declined to do so, instead continuing to work with wood. Thus began the story of the craftsman, the artist, and the furniture designer Hans J. Wegner.

BØRGE MOGENSEN – THE FRIENDSHIP AND THE DANISH SCHOOL OF ARTS AND CRAFTS In 1934, Børge Mogensen was 20 years old and a trained cabinetmaker, but he had ambitions to do more than carpentry and two years later applied to the furniture design programme at the Danish School of Arts and Crafts. The two Jutlander cabinet makers Hans J. Wegner and Børge Mogensen were admitted to the same class in 1936, and soon established a collaboration that was to develop into a lifelong friendship. As students in the new furniture programme, they were both to play a decisive role in the development of the new Danish furniture art.

The Furniture School was co–founded by architect Kaare Klint at the Royal Danish Academy of Fine Arts in 1924, and a branch of the furniture school was established in 1930. There, a carpentry school was created to train furniture designers, both programmes being centred on Kaare Klint’s philosophy and ideals for modern furniture art.

Until then, form and function had not been essential to the creation of a piece of furniture, but were closer to decoration and aesthetics.

Kaare Klint sought to change this. By analysing the user, the environment and the purpose for which a given piece of furniture was to be made, Kaare Klint aimed to create furniture with a well–founded theoretical understanding of human anatomy and measurement of functions. A piece of furniture was to be an illustration of its purpose, neither more nor less. This functionalist approach became the symbol and rulebook for an entire generation of furniture designers.

The limited economic and spatial conditions of the time supported Klint’s ideals, in which furniture was to possess multiple functions with ornamentation cut to an absolute minimum. Utility value was the focus, and furniture was to serve human beings and their functions. In 1925, master cabinetmaker A.J. Iversen lent his support to the ideals of Kaare Klint’s school and in the journal ‘Arkitekten’, he questioned the philosophy and methods by which furniture is created.

A.J. Iversen wanted the new furniture designers to gain insight into carpentry, as it lent new and different aspects to the art of making furniture. Understanding the craftsmanship also generated an understanding of design, comfort and function, as well as the possibilities and limitations of the wood. Within this context, furniture designers would be able to unfold their artistic abilities and even solve social issues.

The common denominators for Hans J. Wegner and Børge Mogensen are primarily their cabinetmaker’s background and passion for wood.

Both Wegner and Mogensen stood out for their precision craftsmanship and understanding of wood’s possibilities, and they collaborated on joint projects on several occasions, including at the annual Furniture Exhibitions of the Copenhagen Cabinet Makers’ Guild.

Børge Mogensen and, in particular, Hans J. Wegner became the leading exponents of A.J. Iversen’s desire for insight and collaboration between cabinetmaker craftsmen and furniture designers, and in connection with the 25th anniversary of the Cabinetmaker’s Guild in 1951, author Viggo Steen Møller described their significance as follows: ‘They both represent something professionally and aesthetically valuable in Danish furniture art. There seems to be no doubt that their training added to their knowledge of materials and construction possibilities that are of great benefit to their aesthetic design of the furniture. Other young architects have shown a desire to go overboard in terms of construction, but Mogensen and Wegner rarely exceed what the material can offer. They shape freely, with an urge to tell a story about the subjects. Wegner in particular has a vivid imagination that can give rise to incredible expression. With this type of ‘professional artist’, Danish furniture art has added a very valuable asset.’

Lot no: 1144683

Lot no: 1144643

Hans J. Wegner was part of an era in which new thoughts and currents are emerging. At one extreme Børge Mogensen was with his pure Functionalism and, at the opposite extreme was the architect Finn Juhl with his free art and floating sculptural furniture as an exponent of organic modernism. Both were part of the new generation, one where architects and cabinet makers collaborate and represent what A.J Iversen describes in 1925 as ‘Democratic design and artistic renewal’. Two currents that were driven by different forces, thoughts and beliefs.

Børge Mogensen came from humble beginnings and took a position on the contemporary and society in which he lived. Mogensen advocated ‘democratic’ furniture and remained true to the ideals of the Kaare Klint school throughout his life. Mogensen created furniture based on reason with a natural understanding of materials, construction and use. This resulted in simple, solid and inexpensive furniture for ordinary people, which did not appeal to the carriage trade in the same way as Finn Juhl’s artistically designed joinery furniture crafted in precious exotic woods. Instead, Finn Juhl represented the new Nordic modernism and the difference of opinion between the two designers sometimes made for heated discussions. This was manifested in social debates and several literary clashes in various journals about their ideological approaches to furniture.

Hans J. Wegner, on the other hand, symbolised the best of the two modern currents. The most interesting of Wegner’s pieces were functional and solid with a position on construction and materials, but still with a playful touch and organically challenging shapes.

Wegner succeeded in creating pieces based on the core values of functionalism with historical references to earlier types of furniture, inspiration from organic modernism, solid craftsmanship and with a personal touch of innovation.

Wegner describes the division between these currents and Kaare Klint’s influence as follows: ‘He was the master. His disciples demanded that you followed his principles. I listened, and sometimes I made changes to my things.

It really annoyed me, because it meant periods of boredom. You get the most out of listening to yourself.’

Hans J. Wegner was never taught by Kaare Klint, as the classes with Klint were included in the final part of the programme. Instead, Wegner took leave from the school and was hired at Arne Jacobsen and Erik Møller’s studio in connection with the construction of Aarhus City Hall. Architect Orla Mølgaard Nielsen, an instructor at the School of Arts and Crafts, recommended that Erik Møller hire Wegner for the job, but since the construction of Aarhus City Hall was delayed due to the Second World War, Erik Møller instead worked on a temporary project. Wegner was appointed supervisor during the construction of the Nyborg Public Library and was entrusted with responsibility for the furniture and interior design. Subsequently, Wegner did not complete the last part of the programme and never completed his education, whereas Børge Mogensen distinguished himself in the programme and after finishing his exams, was employed with Kaare Klint from 1938 to 1942.

NYBORG PUBLIC LIBRARY In 1935, architects Flemming Lassen and Erik Møller won the competition for the construction of the Nyborg Public Library. Both worked at Arne Jacobsen’s studio, and both represented the contemporary functionalist and modernist currents in architecture. In connection with the construction, the two architects hired the young student Wegner to design furniture and interiors for the library. Nyborg Public Library thus came to embody the spirit of the era. The purpose of the library, as its name suggests, was to provide literature for the people.

In 1919, an eight–hour workday was introduced in Denmark. This led to new developments in society, and the concept of leisure time began to make headway. Through knowledge and public education, the labor movement wanted to optimise and improve conditions for the modern man. The development of Danish society was to be based on an active and informed democracy, and the shorter working day gave people this opportunity. At the public library, everyone could attend debates for free, see lectures, read public education literature and study major academic and philosophical concepts. The library as an institution therefore came to play a special role in society. Knowledge is for everyone.

In 1939, Nyborg Public Library opened its doors to an architectural masterpiece. Both the building and the interior design were created on the basis of the era’s democratic concepts of free and open access to literature. With large, low–slung windows and glass facades in the entrance area, the library was light–filled and welcoming to visitors. The architecture is functionalist and understated, with a deliberate distance from the pompous, classicist style that otherwise prevailed for libraries of the time. Nyborg Public Library is open, inviting and not ornate or showy. The library was designed without the use of decorative elements, as the materials and their design themselves are what comprise the interior aesthetic.

Unlike earlier libraries, visitors were now permitted to explore the books for themselves. With debate rooms, open bookshelves, reading rooms, a lecture hall, a newspaper room and a children’s section, Nyborg Public Library became a symbol of the contemporary currents of thought. The library was intended for everyone, rich and poor, young and old. The fact that opening hours were simultaneously being expanded in keeping with the working life of the population only served to support the democratic ideas of the time. Nyborg Public Library fulfilled its role and, with its functionalist architecture, represented the public education, debate–creating and culture–disseminating space that the library established in society.

Nyborg Public Library was an epoch–making magnum opus in Danish architectural history, and in 1940 Erik Møller and Flemming Lassen were awarded with the Eckersberg medal. But the fact that Hans J. Wegner designed the furniture and interiors for Nyborg Public Library was unfortunately overlooked by the general public. Very promisingly, the furniture for Nyborg Public Library was designed in keeping with the rest of the construction, and the choice fell on lightweight spindle chairs, all with references to the Windsor chair tradition. The Windsor chair is considered to be the world’s first mass–produced chair, where each component of the chair was made separately for later assembly. This keeps costs and the end price low, and for the same reason, the Windsor chair was thought by many to be the people’s chair, since even the ordinary person could afford it.

Wegner describes the Windsor tradition as follows: ‘The goal is to express something in the wood that is natural to the wood, to find the carpentry that is right for the wood. Look at the Windsor chair. It’s a simple construction. Something people in England could do 200 years ago, but also a distinctive design, precisely because it so naturally expresses what it is.’

All the loose furnishings for the Nyborg Public Library were made by cabinetmaker Th. Pedersen and Son in Aarhus, while the fixed equipment was produced by Curt Jensen of Nyborg. Several of the chairs for the Nyborg Public Library were designed and intended to feature a steam–bent backrest made from a single piece of wood, but this was unfortunately not possible for the small Aarhus workshop, so the back piece was instead created with three composite pieces of wood.

According to his daughter Marianne Wegner, Hans J. Wegner rarely spoke about the furniture for Nyborg Library, allegedly because of the lack of quality in its execution. But Wegner did not dwell on the details for long. The work in Nyborg was temporary and he had to return to Jutland. The Aarhus City Hall assignment was waiting.

Lot no: 1144355

AARHUS CITY HALL ‘I sketched the designs for all the furniture and fixtures in City Hall. It was, of course, discussed with Erik Møller, who was in charge and perhaps came up with some ideas. When there are only three people and one manager, you work very closely together. Of course, it is Erik Møller and Arne Jacobsen’s furniture that is in City Hall. I learned a lot from being there.’

Hans J. Wegner thus humbly described his work at Erik Møller and Arne Jacobsen’s design studio in connection with the Aarhus City Hall project. That Wegner designed chairs and fixtures for Aarhus City Hall, had his earliest furniture made by local cabinet makers and established his first design studio in the city is in many ways a forgotten and overlooked era in Wegner’s life.

The story of Wegner’s work in Aarhus began in 1937, when architects Arne Jacobsen and Erik Møller won the competition to design the new Aarhus City Hall. Wegner was enrolled in his furniture design programme, but took leave from his studies and moved from Copen– hagen to Aarhus in 1938. Here, Wegner was employed to design furniture and interiors as well as build prototypes and small models for Aarhus City Hall. Wegner had a place to live on Carl Berthelsens Gade in Aarhus, but for a short period commuted back and forth between Nyborg and Aarhus.

With Aarhus City Hall, architects Arne Jacobsen and Erik Møller created a ‘gesamtkunstwerk’ in which all elements, furniture and details were designed especially for the building. This included everything: ashtrays, lamp fixtures, panels, curtains, furniture and postboxes.

By the time of the inauguration of Aarhus City Hall on 2 July 1941, the city could boast a unique, forward–looking building and one of the earliest in Denmark to be constructed with floor heating and flexible walls in the offices, so that office size could easily be adjusted to reflect changes in power structure after a municipal election.

Aarhus City Hall is divided into three sections with one main building and two office wings. The main building faces City Hall Square and is home to a city meeting hall, city chambers, a wedding hall, a foyer, the city planner’s office, the mayor’s office and several council chambers. There are two office wings in continuation of the main building, one tall and one low. The low wing contains representative offices, while the tall central wing contains administrative offices. The building was originally designed without a tower, but bowing to great public demand, Arne Jacobsen and Erik Møller added a tower to the design.

Aarhus City Hall is a building of the future created ahead of its time, and in 1994, the Danish Ministry of Culture rewarded the functionalist masterpiece with listed status.

An article from 1941 in connection with the Aarhus City Jubilee describes how Erik Møller handled the daily supervision of the construction, while Arne Jacobsen worked mostly from Copenhagen. Arne Jacobsen apparently travelled to Aarhus every fourteen days to monitor the construction. Just as for the rest of the interior, all the furniture in the building was designed specifically for Aarhus City Hall, though it can be divided into two groups: custom–made joinery furniture and standard factory furniture.

For the main building, custom–made joinery furniture was made and adapted to the individual rooms and halls, while the remaining office wings at Aarhus City Hall had to suffice with standard factory furniture from Plan Møbler, the furniture manufacturer. The furniture collection from Plan Møbler has been attributed to Wegner and was subsequently put into production with minor modifications. The fact that the two leading architects acknowledge and credit Wegner for his work is clear, as they assigned Wegner to manufacture three furniture collections with strong inspiration from the City Hall furniture alongside the creation of the building. From a legal perspective, Arne Jacobsen and Erik Møller were credited for all of the furniture and exactly what role Wegner played in its creation is uncertain.

The furniture was developed and created as a collaboration between the three but unfortunately there is no documentation for exactly who designed which pieces.

In connection with the City Hall project, Wegner also met his future wife Inga Helbo, who worked as a receptionist and bookkeeper at the administration office. They married in October 1940 and remain living in Aarhus for six years.

Wegner’s work at Aarhus City Hall did not go unnoticed, and a number of manufacturers saw potential in the young furniture designer.

This resulted in a collaboration with the furniture manufacturers Plan Møbler and Mikael Laursen, and in 1943 Wegner also established his first design studio on Sankt Pauls Kirkeplads in Aarhus.

Lot no: 1144361

Lot no: 1144355

Lot no: 1144363

Lot no: 1162929

PLAN MØBLER ‘It was the young Aarhus architect Hans J. Wegner who was first to design size–based office furniture, which means that the furniture is manufactured so that it can be assembled in countless variations without impacting the harmony of the office décor. All cabinets feature exactly the same height and depth; shelves, desk extensions and other small furniture have the same height as desks and work tables, and their length corresponds to the depth of the tables, etc. In short, these are the same building principles used in the construction of brick houses. At the same time, much consideration is given to the beauty of the furniture’s construction, and to ensuring the best ergonomic working position. Plan Møbler furniture fully meets all requirements for appropriate, work–facilitating and representative office design’.

Thus Plan Møbler presented its three office collections in 1941. Plan Møbler put great importance on the innovative elements of the furniture, where all office collections were adapted to each other in height, length and width and built up as sub–elements with the possibility to add on. The functionality and versatility of the office collections were probably the reasons behind the furniture’s success.

In addition to the three furniture collections, Wegner designed a number of special pieces for Plan Møbler for the Jutland Telephone Company’s executive offices in the Clemensborg building in downtown Aarhus. Along with the telephone company’s offices, Clemensborg was home to several City Hall administrative offices, so the collaboration itself and the interior décor work seemed logical.

A few years later, Plan Møbler presented a fourth successful furniture collection, and the D–series was also designed by Hans J. Wegner.

In 1941, the limited company Plan Møbler was established and shortly after, the company received the office furniture commission for Aarhus City Hall, which at the time was the largest single furniture order in Danish history.

Randrup enjoyed tremendous success, and in March 1935 he moved the company from Holstebro to Nørregade 53 in Aarhus. The company began to expand as soon as 1943 and moved to larger modern premises built to Wegner’s designs in Jydsk Handels– og Landbrugs– bank’s (Business and Agricultural Bank of Jutland) impressive new building at the Aarhus railway station. The company also opened a branch on Amagertorv in Copenhagen and with success, expanded to larger, superior premises at Vimmelskaftet 47 and a sales office on Bredgade.

The Plan Møbler furniture factory began production at Skanderborgvej 108 in Kongsvang, Aarhus, but was forced to seek new premises after a major fire in 1961. Plan Møbler temporarily rented premises at J. L. Møller’s cabinetmaking workshop in Viby, Aarhus, while Randrup established a new and larger factory at Søren Nymarksvej 21 in the industrial district of Holme in Aarhus.

However, the success of Karl Randrup and Plan Møbler did not last, and in 1964–1965 they had to shut down. Master cabinetmaker Johannes Hansen took over the rights and production of the office furniture in the D–series.

Lot no: 1144372

Lot no: 1144376

Lot no: 1144386

Lot no: 1165406

Lot no: 1144400

Photo of Hans J. Wegner’s home, Aarhus 1945. (Photo: Hammerschidt).

MIKAEL LAURSEN ‘It is very regrettable that what every decent carpenter with any self–respect once could make with his hands has now become art.’

That is how Hans J. Wegner characterised developments in the cabinetmaking trade in an interview with Henrik Steen Møller in 1979. Since Wegner’s earliest furniture production, cabinetmaking quality has changed. In the years 1940 to 1949, Wegner entered into a collaboration with the Aarhus cabinetmaker Mikael Laursen, who, in addition to being a cabinetmaker, was also a trained wood carver. When Wegner dreamed as a young man of becoming a sculptor, he understood the quality of the craftsmanship and had a natural understanding and respect for the professional skills of the wood carver’s trade.

‘I believe that you should be able to play so well that it’s no problem to sit at the piano.’

Hans J. Wegner knew how important good craftsmanship is to quality. Before you can compose music, you must learn how to play; it is a prerequisite in the creation of both furniture and music. Despite its quality work, the wood carver’s trade was under pressure economically.

Demand for craftsmanship was low, and the greatness of earlier times was in decline. Time had passed the wood carvers by and fashions had changed. But Wegner wanted to support the trade and over the years he participated in a number of competitions and exhibitions.

Wegner explained his participation as follows: ‘This centuries–old proud tradition must battle against corrosive apathy. There is no more need for angel heads and lion’s feet, the architects have become so matter of fact.’

Most of the pieces entered by Wegner in the competitions and exhibitions were produced by Mikael Laursen and their collaboration received a number of awards.

Wegner made the acquaintance of Mikael Laursen during his time at Plan Møbler and their paths crossed during the Aarhus City Hall interior design project. Here Mikael Laursen worked as production manager for Plan Møbler and also produced one–of–a–kind furniture for the city planner’s office at Aarhus City Hall under his own name. Wegner designed forward–looking furniture for in–house production for Mikael Laursen and also designed the cabinetmaker’s new logo in connection with the opening of a shop at Østergade 3 in Aarhus.

Mikael Laursen’s workshop was located in back of Sankt Pauls Kirkeplads 9, and in 1943 Wegner established his first studio in the attic of the same building. The newly established studio was soon tasked with designing furniture for the producers FDB and Fritz Hansen, but Wegner would opt to close his studio after just three years.

Wegner missed his circle of friends and his colleagues in Copenhagen, and therefore he accepted a job in the capital in 1946. And thus Wegner’s work in Aarhus came to an end.

Lot no: 1144419

Lot no: 1144410

Lot no: 1144406

FDB ‘At that point I was in Aarhus, it was in 1944 and during the war, and I felt rather isolated. I spoke a lot on the phone with the others, especially my friend Børge Mogensen. One must remember that we were unable to travel...’

Wegner missed freedom, Copenhagen’s design competitions and interesting new challenges after the construction of Aarhus City Hall.

So Børge Mogensen involved Wegner in a project. Wegner was to help Mogensen design affordable architectural furniture under the slogan ‘Furniture for the people’.

In 1942, Mogensen was offered the position of head of the design studio at the Danish Consumers Cooperative Society (FDB) by FDB’s chief executive, Frederik Nielsen, who, in collaboration with architect and consultant Steen Eiler Rasmussen, wanted to produce inexpensive, modern furniture for the ‘ordinary man’. Børge Mogensen was tasked with realising this vision and was hired to launch a furniture programme with a new independent furniture production. Until this time, FDB sold inexpensive furniture and handicrafts with Steen Eiler Steensen at the helm, but without in–house production. With the appointment of Børge Mogensen, CEO Frederik Nielsen aimed to change that.

In 1944, Børge Mogensen presented his ideas for FDB’s new furniture programme and convinced his good friend Hans J. Wegner to design the furniture. The furniture was introduced the same year at the opening of the FDB showroom at Frederiksborggade 33 in downtown Copenhagen.

From 1942 to 1944, FDB opened a string of shops in West Jutland and for the same reason chose to situate production of their new furniture line in that area. The first FDB furniture was therefore manufactured at a factory, Tarm Stole– og Møbelfabrik in Tarm, located in West Jutland. The cooperative (FDB) was owned by the members, who quickly took to the furniture and ensured the project’s success.

FDB’s ideas on social responsibility, solidarity and quality were transferred to the furniture which was affordable and functional, but also of high quality.

Wegner contributed just a few pieces to the project, because a new and exciting opportunity arose. Wegner was asked to develop new furniture types for one of FDB’s subcontractors, the furniture manufacturer Fritz Hansen. Wegner brought the thoughts and ideas behind the FDB furniture into his future work, but did not allow himself to be limited by them. Wegner designed quality furniture for all social strata at all price points and across social divisions. Wegner not only designed ‘furniture for the people’, he made furniture for everyone.

1144431

Lot no: 1144431

FRITZ HANSEN ‘Huge advances in design seem to take place naturally every time new materials and production methods are developed.’

With this quote, Wegner highlighted the importance of industrialisation and its role in the development of furniture.

When Fritz Hansen hired Wegner in 1943 to design new types of furniture for their furniture line, Wegner began to experiment with steam bending and form–moulded laminated wood techniques. The result was that Fritz Hansen, including in collaboration with Wegner, pushed the limits of furniture mass production to unprecedented heights. With his craftsmanship, Wegner succeeded in using the best elements from both the crafts tradition and the furniture industry. He designed quality furniture with cabinetmaker details for factory production for Fritz Hansen. Perhaps because of this, Wegner constantly pushed the limits of what was practically possible to do within industrial production.

Wegner characterised the development of the furniture industry in the catalogue for the exhibition ‘Design since 1945’ at the Philadelphia Museum of Art as follows: ‘Time has passed. The machine has taken over the harder parts of manual labour, and the designer has taken over the creative aspects of the craftsman's work and has thereby become an indispensable link in industrial routine.’

Fritz Hansen is an important part of the industrial development in Denmark. In 1872, cabinetmaker Fritz Hansen established a company under his own name in Copenhagen. However, the foundation of the company was created at the beginning of the twentieth century, when the workshop began innovative experiments with steam bending and form–moulded beech. Throughout the 1930's, the far–sighted Christian E. Hansen (son of Fritz Hansen) further developed the technique, and the company became one of Europe’s leaders in steam bending and form–moulding of laminated wood. Despite some financially strained years during World War II, Fritz Hansen expanded its factory. As soon as the 1940's, the company began production and export of their furniture to war–torn Europe, as both the infrastructure and the furniture industry in Denmark had been spared major damage during the war years (1939–45). While the major European industrial countries were rebuilding their production equipment, the Danish furniture industry, with Fritz Hansen at the forefront, was capitalising on the ever–increasing demand for furniture.

Throughout the 1940's, Wegner developed a number of variations on the Chinese chair theme, and these chairs, together with a sofa set in form–moulded plywood, were the culmination of Wegner’s work for Fritz Hansen. The task to create new types of furniture had succeeded. Wegner set new standards in steam bending and form–moulding of laminated wood and utilised contemporary materials and production methods. He left a significant mark on furniture development and, in his words, brought huge advances to its design.

Next stop: Copenhagen.

Lot no: 1144634 and 1144644

Lot no: 1144639

Lot no: 1144636

PALLE SUENSON ‘Yes, I remember coming to your studio in 1946 when we made ships. It was a busy time, but it was lovely.’

Wegner in a letter to Palle Suenson, in which he thanked Suenson for the greetings he sent for Wegner’s 70th birthday.

From 1946 to 1948, Wegner was employed at Palle Suenson’s design studio in Copenhagen. Suenson became acquainted with Wegner in connection with the construction of the Sparekassen building for the city of Nyborg and the Aarhus Aarhus Oliefabrik Administration Building, as construction took place during Wegner’s projects in Nyborg and Aarhus.

Palle Suenson was part of the new thinking about architecture that emerged after the end of the First World War. These new ideas on architecture were based on a socially holistic view, moral considerations, social responsibility, equality for men and women in education, increased mathematical and theoretical instruction of engineers and new ideals. Architecture was to solve social, technical and financial problems. Building architecture as well as furniture art could become a fusion of beauty and utility.

In 1934, Palle Suenson, alongside his design studio, became an instructor at the Academy of Architecture, later a professor of construction architecture and then the Rector of the Academy of Fine Arts. In 1946, Palle Suenson worked as a supervisor at the Academy’s School of Architecture while Wegner’s former instructor Orla Mølgaard Nielsen was at the School of Arts and Crafts. Their paths crossed, and Mølgaard recommended that Suenson should hire Hans J. Wegner for a pending renovation project for a ship.

Wegner took the job, and was employed at Suenson’s studio throughout 1946. Wegner also accepted a teaching position at the School of Arts and Crafts, and in 1953 he became supervisor at the school.

Wegner’s primary task at the design studio was in connection with a renovation and rebuilding of the sunken ship M/S Venus. The Danish– built and Norwegian–owned M/S Venus was seized by the Germans during the occupation and sunk near the Port of Hamburg, sustaining major damage. The ship was repaired, rebuilt and modernised in the Helsingør shipyards, transforming the M/S Venus into a floating luxury hotel. The ship was intended to sail the route between Bergen and Newcastle and compete with aviation by offering the traveller the comforts of a well–appointed luxury hotel. The shipyards transferred the design of the ship to Palle Suenson. As the company wanted a varied interior design with many different and modern furniture types, lamps and carpets, Palle Suenson hired Wegner for the project.

In 1948, the M/S Venus sailed once more, now in a new and modernised version.

In 1948 Wegner left Palle Suenson’s studio and established his own studio in Gentofte alongside his work as an instructor.

Palle Suenson wrote to Wegner about those times: ‘I have many good memories of that time. I often think back on a really busy period in the studio when I didn’t get to see much of my wife, and you came in and gave me one hundred crowns and said ‘Ok Wegner, take your wife to Tivoli’. That was a lot of money back then, but I wasn't really lacking for anything, so it was more about the thought behind it.’

Or that time we were finishing up with ‘Venus’ and you came aboard in Helsingør with the entire studio to inspect the work. We later ended up at ‘Susse’ where we had dinner. While we were having coffee you asked me to come outside. We chatted a bit, I don’t remember about what, and suddenly you took a small piece of paper out of your pocket and stuck it in my breast pocket. I found out later that it was a cheque for 3000 DKK. It was absolutely insane, I was already getting a good salary and had only done the work I was supposed to do.’

It is clear that Palle Suenson valued Wegner’s work at the studio. And it wasn’t the first or last time that Wegner would be rewarded or awarded for his ideas.

Lot no: 1144649

Lot no: 1144651

COMPETITIONS – STRIVING FOR PERFECTION ‘I work in steel, plastic, whatever there is – and I want the freedom to make mistakes. The lesser things don’t survive anyway.’

Wegner was a versatile designer and participated in numerous competitions during his younger years. He worked in many directions and tested an array of materials. For example, Wegner participated in competitions for wallpaper, silverware, cutlery, lamps, the construction of a petrol station, hotel furniture and tourist products. In addition, he took part in many competitions in support of the wood carver’s trade, but is best known for his furniture for the Copenhagen Cabinet Makers’ Guild’s annual Furniture Exhibitions. Wegner constantly pushed himself, his designs and his furniture to the limit. Even after he designed ‘The Chair’ in 1949, Wegner had the following to say: ‘There is nothing so good that it can’t be made even better.’

The passion to create and the serious focus on testing materials remain intact throughout Wegner’s life. He simply could not help it.

Or as he expressed it: ‘It damn well has to be perfect.’

Lot no: 1144655

JOHANNES HANSEN ‘Wegner and I immediately became good friends, and not long after we went to the workshop in the evening and made the Peacock Chair.

We made it just for fun, Johannes Hansen knew nothing about it. The first peacock chair was sent to the Netherlands to an exhibition, where it disappeared. We were left without a chair, with some torn drawings with myriad corrections. That’s how it was with the first many chairs we made: it was very rare that the finished chair looked like the sketch; almost everything was changed along the way, we talked a lot about the details and made constant alterations. The big difference in working with Wegner instead of the other furniture designers is that he was personally involved and we worked on the same level. We both enjoyed the collaboration, so we often lost track of time.

Yet we were always finished our work on time. Johannes Hansen said that what Wegner was doing was great, but there wouldn’t be a sale at the end of it! But then he was singing a different tune after 1949, when we exhibited four examples of ‘The Chair’...’

Nils Thomsen, master cabinet maker and supervisor at Johannes Hansen’s workshop, thus describes his friend and his collaboration with Hans J. Wegner. The beginning of the story, however, started as early as 1940 when master cabinet maker Johannes Hansen met the just 26–year–old Wegner and began collaboration developing new furniture for the company. At the workshop, Wegner often prepared and made his prototypes after working hours, as described by Thomsen. The workshop becomes known as a sanctuary and a playground, a place where for many decades Wegner would experiment and develop new furniture for his manufacturers.

The results of the experiments were most often presented at Cabinet Maker’s Guild’s annual exhibitions and were subsequently displayed and sold in Johannes Hansen’s showroom at Bredgade 65 in Copenhagen. His work did not go unnoticed, and in the 1940's and 1950's Wegner would reap extensive recognition for his furniture designs, which opened the doors to a big export adventure for the small Danish furniture manufacturer. Johannes Hansen experienced massive sales success, especially in the United States, and during the 1950's, growing demand caused the company to outgrow the workshop on Borups Alle. Johannes Hansen moved to newly renovated premises with modern equipment at Gladsaxevej 311 in Søborg. Here, the cabinet maker’s workshop was combined with an impressive showroom in the same building, and in 1958 the new premises were opened. The start of Johannes Hansen’s major financial venture took place just three years before his death, but before that Johannes Hansen summarised the workshop’s values and characteristics in the following quote: ‘…we don’t manufacture our furniture on an assembly line. Each piece is made of material specially selected for its use, and we rarely make many copies of each piece of furniture.’

After Johannes Hansen’s death, his son Poul Hansen took over the management of the company, and successfully ran it for a number of years. But the good times did not last, and in the 1990's the company was forced to close.

Johannes Hansen and Hans J. Wegner’s collaboration was viewed by many as the jewel in the crown of Wegner’s work and indeed, the most recognised, complex and award–winning of Wegner’s furniture were almost all manufactured by Johannes Hansen.

In the 1940's, the manufacturing industry made its entry into Denmark and as a natural consequence of Wegner’s huge success with Johannes Hansen, the industry attempted to convince the furniture designer to change production methods and material choices.

Perhaps this is why Wegner accepted a collaboration for industrially manufactured furniture alongside his involvement with Johannes Hansen. Wegner himself described it as follows: ‘I generally don’t turn down offers, because they may contain opportunities you wouldn’t otherwise get the chance to try. You never know.’

Lot no: 1144654

Lot no: 1164137

Lot no: 1144663

Lot no: 1144664

Lot no: 1144665

Lot no: 1144666

THE COPENHAGEN CABINET MAKER’S GUILD’S ANNUAL FURNITURE EXHIBITIONS ‘We had to have something to show every autumn. We were happy if we could just sell the chairs that had been exhibited. That was as far as our expectations went.’

Hans J. Wegner described his first participation in the annual exhibitions as: ‘It was more of a game’ and explains that ‘The goal was to make things as simple as possible and properly, and show what we could do with our hands. To bring life to the wood, give it a spirit and vitality.’

While still a student in 1938 Wegner made his debut with furniture made by cabinetmaker Ove Lander, and just as for the previous 11 years, expectations for the exhibition were limited. Foreign price dumping and low consumer purchasing power throughout the 1920's and 1930's had put cabinet making in a hopeless economic situation. The problem called for a response, and in 1927, the Cabinet Maker’s Guild in Copenhagen offered a proposal for a solution. The answer was an annual furniture exhibition to promote interest in joinery furniture while also taking up the fight against the intensified competition and the ever–growing factory industry. In short, cabinet making would document its own justification for existence.

The primary driver of the annual exhibitions was the visionary cabinet maker A.J. Iversen, who wanted to do away with the old imitations of classic English furniture and instead make furniture for the exhibitions that was innovative and ahead of its time. He viewed a collab– oration between furniture designers and cabinet makers as a welcome development, where the idea was that each designer would be associated with his own cabinet maker, who would then make the furniture specifically for the annual exhibition.

But the idea of professional collaboration was not well received by everyone. The older cabinet makers were opposed to letting the pencil be taken from their hands and in 1928, 26 master cabinet makers would participate in the exhibition, but just four proposals featured a collaboration with a designer.

The first exhibition catalogue from 1927 described how the cabinet makers ‘want to arouse interest in good and beautiful craftsmanship’.

With the exhibition, they would create a new and more direct contact with the audience, so as to ‘be able to accommodate special wishes and tastes depending on the current fashion of the moment.’

But A.J. Iversen had aims apart from those described in 1927.

Iversen wanted to develop furniture art and renew the way that furniture was perceived. He wanted to teach the public how utility value, form and function were essential factors for a piece of furniture and that the cabinet makers should not be allowed to control consumers, but instead show the way. Iversen explained: ‘The cabinet makers in connection with the designers serve as taste makers that can influence the perception of what is beautiful and right.’

Designers must assume social responsibility and give the public new types of furniture that solve their housing problems. Small apartments had become the predominant housing form, and with less space came new challenges.

1930 thus became a landmark year. Iversen was elected as the new head of the Cabinet Maker’s Guild exhibition and with him as chairman, the problems of furniture art and the designers’ social responsibility were immediately placed on the agenda. Previous exhibitions had focused on furnishing living rooms as well as larger and finer types of housing. But 1930 was different: The theme was furnishings for a 2–room apartment.

In connection with the annual exhibition, in 1933 the Cabinet Maker’s Guild also introduced a competition for new furniture types, and based on A.J. Iversen’s visionary ideas on forward–looking furniture, they established a furniture competition. In the time up to each exhibition, a competition was held and the best and most innovative proposals were awarded and subsequently produced for the exhibition itself. The furniture competition became a cornerstone of Danish design history and made a strong contribution to the creation of the era known abroad as ‘Danish Modern’.

Iversen’s ideas raised awareness and generated public interest in the exhibition. Consequently, a number of cabinet makers were convinced to establish collaborations with the designers and by 1930, approximately half were collaborating with furniture designers for the annual exhibition.

Wegner described the influence of A.J. Iversen, when he discussed his early competition proposals in an interview. It was about ‘undressing the old chairs of their outer style and bringing them back to life in their pure construction’. Here, Wegner was speaking of the development of both his own furniture and furniture art itself. Wegner did away with the ornamentation and decoration of the past and instead made his furniture clean–lined, conservative and very simple in expression. This period is often described as the time before Wegner became Wegner.

Hans J. Wegner participated for the first time in the Cabinet Maker’s Guild furniture competition in 1937, but the proposal did not win any prizes and the furniture was not made for the exhibition.

In 1938, 1939 and 1940, Wegner was awarded for his competition proposals and the furniture was respectively made by Ove Lander in 1938 and Peter Nielsen in 1939. In 1940 Wegner did not succeed in finding a cabinet maker, and the furniture was not manufactured.

Hans J. Wegner participated in the Cabinet Maker’s Guild furniture competitions in the years 1937 to 1951, and in the actual exhibitions right up to 1966. From 1941, Wegner commenced his well–known collaboration with master cabinet maker Johannes Hansen and, with three exceptions, the competition proposals from these years were made exclusively made by Johannes Hansen. Wegner entered into a collaboration with Børge Mogensen in 1945 and 1946 and for these years, I. Christiansen and Erhard Rasmussen, in addition to Johannes Hansen, produced the competition proposals.

When the Cabinet Maker’s Guild introduced its first furniture exhibition, the trade was financially pressured and the profits low. So the cabinet makers presented the furniture designers with an opportunity. In connection with the development of new furniture, they would receive only a small payment. Instead, the cabinet makers would introduce a form of payment in which the furniture designers received a royalty from each sale. The scheme would reduce costs associated with making new furniture, but at the same time give the designer the opportunity to earn more through higher sales figures. This ‘royalty construction’ became the common method of remuneration and, with the furniture competition, created a new culture among the furniture designers.

The chairman of the Cabinet Maker’s Guild in 1935, Nils Boren, described the new competitive culture among the designers as follows: ‘The conditions for the development and enhancement of a craft are that it has the opportunity to perform at its best, and these opportunities were created for a large part of our annual exhibitions, which featured genuine competition between architects and cabinet makers to take the lead.’

However, the Second World War would limit this development for both cabinet makers and designers. The exhibitions continued through the war years despite the circumstances, but in 1945 it was over. The exhibition stepped out of the war’s shadows, and Wegner described it as follows: ‘It was a wonderful, joyful feeling that the war was over. We felt that the entire world was open to us and we wanted to show what we could do.’

But even with their budding optimism, the furniture designers were forced to think creatively. The war had left its mark, and materials were still in short supply. It was a matter of making the most of what was available. In this regard, Wegner became the pioneer. Wegner was able to create Danish furniture, made by Danish cabinet makers, made from Danish materials. It is a story that is still told today. In many ways, Hans J. Wegner came to symbolise Danish furniture design in a way that NOMA does for Danish food culture today. Wegner led the way. He realised and utilised the quality of the Nordic materials and pushed Danish design beyond Denmark’s borders.

The culmination came in 1950 when American audiences were made aware of Wegner’s abilities. The prestigious magazine ‘Interiors’ carried an article that featured Wegner’s furniture, among other designers. The article was a landmark for Danish furniture art and, in many ways, represented the recognition of the Cabinet Maker’s Guild furniture exhibitions and the concepts upon which the exhibitions were based. The significance of this was predicted by Minister of Commerce H. Hauge as early as 1935.

‘Once our time’s development history is written in the future, these exhibitions will be remembered as a worthwhile attempt at keeping the work of a trade at a level above where the trends of the times had otherwise decided it should be.’

SALESCO ‘It has been important to me to always do new things and work in a number of directions – or it would all be impossible to bear. As I said, I’m reproached for my versatility, the fact that I suddenly show a face that isn’t recognised. But it’s my face, after all. (I want to be allowed to be who I am.)’

Until 1949, Hans J. Wegner mainly designed furniture for the Cabinet Maker’s Guild’s annual exhibitions, but the furniture salesman Ejvind Kold Christensen convinced Wegner that there was no profit in participating in a single exhibition once a year. If Wegner wanted larger production and possible export success with his furniture, it would require mass production and collaboration with furniture factories. The idea was for Wegner to design furniture for factory production and furniture fairs. At the fairs, the furniture was presented as a group, but it was made by different manufacturers. Each manufacturer had their own specialty. This was a groundbreaking idea and one that would significantly reduce manufacturing costs. Wegner saw the potential, seized the opportunity and allowed a new face to see the light of day In 1951, the five producers, Carl Hansen and Søn, Ry Møbler, AP Stolen, Andreas Tuck and Getama established a joint sales organisation called SALESCO (Sales Company).

The organisation’s purpose was to sell, market and produce Wegner's furniture, and in 1957 SALESCO manifested itself as a cooperation.

SALESCO was established as a public limited company in which all five parties were equal shareholders. The reason for the common front in sales and marketing was so that the producers could accommodate the growing demand for exports, especially to the United States. Salesman and joint representative of the five companies, Ejvind Kold Christensen, was appointed as director, and a sales office was established at Bredgade 45A, later to be expanded to include an impressive showroom on Rygaardsalle in Hellerup, Copenhagen.

With the joint office, SALESCO attracted and facilitated the work of foreign purchasers so that their travel was minimised and they could simply visit just the Hellerup showroom. Wegner committed to designing furniture for the SALESCO collaboration, which handled the marketing, sales and presentation of Wegner’s furniture at various large fairs, such as those in Cologne, London, Brussels and Hamburg.

Carl Hansen and Søn handled the production of smaller chairs, while AP Stolen was responsible for manufacturing large upholstered furniture. Andreas Tuck primarily handled table manufacturing, while Ry Møbler made storage furniture, desks and beds. Getama produced furniture with loose cushions, and was given responsibility for much of the mass–produced furniture, including deliveries for a number of nursing homes and dormitories.

C.M. Madsen was introduced to the collaboration, as demand for Wegner’s chairs at one point was so massive that Carl Hansen and Søn could not keep up. C.M. Madsen was included in joint marketing and sales, but was not part of the later limited company.

Holger Hansen, who was the company director and son of Carl Hansen, and Ejvind Kold Christensen became the pioneers in the SALESCO collaboration. Hansen wanted to make quality furniture based on the best elements of cabinet making and the furniture industry. The SALESCO furniture was to be associated with this, and most of all Hansen wanted quality labelling for both his own and the entire furniture industry’s furniture. The consumer had to have an assurance of good craftsmanship when buying Danish factory furniture, and in 1959 this idea was translated into the Danish Furniture Makers’ Quality Control label. Quality control was carried out by the Danish Technological Institute on behalf of the Danish Furniture Factories Association. By letting SALESCO compete on quality, Holger Hansen and Kold Christensen hoped that Wegner’s collaboration would achieve success in the large American export market. The idea of quality labelling and sales of well–crafted furniture for America was valid. Modern high–quality design was in demand, and both Wegner’s joinery furniture from Johannes Hansen and the SALESCO factory–made pieces became a huge success in the United States.

Despite the success, director Ejvind Kold Christensen left the SALESCO collaboration in 1955. Kold Christensen wanted to start production of furniture designed by the young architect Poul Kjærholm, and Wegner and the SALESCO manufacturers found it unacceptable to represent both Wegner and Kjærholm simultaneously, so Ejvind Kold Christensen was given an ultimatum. Surprisingly, Kold Christensen chose to abandon the collaboration with SALESCO and instead focused on manufacturing Poul Kjærholm’s furniture. Architect Poul Nørreklit took the empty director’s seat, but as early as 1957 SALESCO changed director again. In connection with the establishment of SALESCO as a public limited company, the former export manager for Fritz Hansen and purchasing manager at Georg Jensen, Jørgen Høyer, became the new director.

When Holger Hansen died suddenly in 1962, SALESCO was left without its two primary initiators. The absence of the two distinctive and leading figures in the organisation left a major vacuum, as Holger Hansen and Ejvind Kold Christensen, for better or for worse, had represented the solid link between the manufacturers and Wegner. Since the beginning of the collaboration, Wegner had enjoyed

Lot no: 1144751

a degree of free rein in connection with development, presentation and innovative ideas. With Hansen’s death and Kold Christensen’s exit, this approach was questioned, as the manufacturers were under financial pressure and their focus had now shifted to finances rather than the development, marketing and presentation of the furniture. The incompatibilities that had smouldered beneath the surface since Holger Hansen’s time had now fully come to the fore.

1969 would see the culmination of several years of internal friction between Wegner and the five SALESCO shareholders. Getama opted to leave the collaboration, and instead created their own sales office in Copenhagen. For their new department, they hired ‘the former’ SALESCO director Jørgen Høyer and three former employees. Despite the circumstances, Wegner decided to continue designing new furniture for Getama.

The story of SALESCO remained a delicate subject, and there were a number of different angles and views on the issue. How, where and why the problems arose and developed depends on one’s perspective. But the fact is that Wegner stopped working with SALESCO because of incompatibilities.

This would mean that the four remaining shareholders could only produce previously designed models.

They tried to keep SALESCO running, but found it necessary to stop the collaboration in 1974. In 1980, attempts were made to restore SALESCO, but without success.

Of that time, Hans J. Wegner would say: ‘From my surroundings I feel that I am to stay where I’m thought to be. I prefer not to go in another direction. Wegner must look like Wegner. The critics demand it, the manufacturers demand it.’

Wegner wanted to be who he was. He did not wish to be limited or labelled. Wegner was a man who wanted to go in his own direction, and in 1969 he parted ways with SALESCO. An impressive collaboration had reached its conclusion.

Lot no: 1144744

The red and white metal daybeds/easy chairs are Model GE440 (series) from Getama. These furnitures were made in 1968–1969 for an exhibition at Bellahøj and were never put into production.

Lot no: 1144742

Lot no: 1144754

Lot no: 1144746

PP MØBLER ‘If only you could design just one good chair in your life… But you simply cannot.’

The remarkable statement was made by a just 38–year–old Hans J. Wegner in an interview given in 1952. But it didn’t stop him from trying, and for the following 48 years, Wegner worked uncompromisingly on designing, drawing and further developing many new chairs, including in collaboration with the furniture company PP Møbler. When Wegner was introduced to Einer Pedersen, the cabinet maker who owned PP Møbler, Wegner met a likeminded craftsman who shared the same professional pride in cabinet making and respect for design.

A collaboration took shape and Wegner began visiting PP Møbler regularly. During the period from 1960 to 1968, Wegner developed several of his prototypes in the workshop and in 1969 the collaboration was made official when he designed the first models exclusively for PP Møbler. Going forward, the workshop received challenging projects in the form of a series of complex chairs, and PP Møbler had to develop new techniques to handle them. One example of this is a chair that Wegner had worked on for years, but never had the opportunity to put into production. Many therefore claimed that the circle had closed when the chair of the same name saw the light of day. Ironically, and very tellingly for Wegner, he did not consider the chair and the definition of the concept in the same way as everyone else.

‘All that talk about ‘the chair’ – it’s nonsense. Because the chair isn't there. I have the feeling that the more I work on it, the more it keeps moving farther and farther away. Maybe it does, maybe it doesn’t. You can’t make something definitive. Only people who don’t understand what it's all about say so. I still think it can be done better – maybe with just four equal sticks.’ (1992) In 1987, Wegner designed his last chair. It was created at a mature time in Wegner’s career and therefore bears the stamp of a lifetime of experience. The chair perfectly expresses and symbolises Wegner’s desire for simplicity, durability and functionality.

‘A chair shouldn’t need to have a back side. It should look beautiful from all sides and all angles.’

This quotation summarises briefly and with precision what furniture art is, and with these words, the story of the craftsman, the artist and the furniture designer Hans J. Wegner is complete.

Lot no: 1144803

Lot no: 1144681

CATALOGUE HANS J. WEGNER COLLECTION | E403 Viewing August 21–27 | Online auction August 28 | Berzelii Park 1, Stockholm

Hans J. Wegner, a chair by cabinet maker Th. Pedersen for the Nyborg Public Library, Denmark, 1938.

Mahogany, seat height 42 cm, height 84 cm.

Provenance: Nyborg Public Library.

Estimate: SEK 25 000 Lot no: 1144355

Hans J. Wegner, a bar cabinet executed by cabinet maker Axel I Sørensen, for the Mayor’s office, Aarhus City Hall, 1941.

Walnut, tambour doors, bar interior with bottle holders in leather, handles and feet in brass. Height 135 cm, width 109 cm, depth 41 cm.

Provenance: The Aarhus City Hall.

Estimate: SEK 60 000 Lot no: 1144361

Hans J. Wegner, a set of 4 chairs executed by cabinet maker Axel I Sørensen for The Aarhus City Hall, Denmark, 1941.

Base in stained pine, seat with cushion in green fabric.

Seat height 44 cm, height 85 cm.

Provenance: The family of Axel I. Sørensen.

Estimate: SEK 12 000 Lot no: 1144358

Arne Jacobsen, Erik Møller & Hans J. Wegner a pair of ceiling lights for Aarhus City Hall, Louis Poulsen, ca 1941.

Brass, white painted brass and glass shades, diameter 47 cm.

Provenance: Aarhus City Hall.

Estimate: SEK 200 000 Lot no: 1144369

Hans J. Wegner, a desk and chair for The Aarhus City Hall, Plan Møbler, Denmark, 1941.

Beech wood, marked with inventory label. Seat height 45 cm, height 84 cm.

The desk in beech wood with drawers, details in teak, 164 x 82 cm, height 75 cm.

Provenance: Aarhus City Hall.

Estimate: SEK 8 000 Lot no: 1144363

Hans J. Wegner, a coat hanger for Aarhus City Hall, Plan Møbler, Denmark, 1941.

Beech, marked Aarhus Raadhus, length 45 cm.

Provenance: Aarhus City Hall.

Estimate: SEK 5 000 Lot no: 1144366

Hans J. Wegner, a tambour cabinet by Plan Møbler, for the Aarhus City Hall, Denmark, 1941.

Beech, detail in teak, height 141 cm, 93 x 41 cm.

Estimate: SEK 8 000 Lot no: 1165407

Hans J. Wegner, a desk lamp for Aarhus City Hall, Denmark, 1941.

Stem in brass, base and shade in black lacquered metal, bakelite switch, height 36 cm.

Provenance: Aarhus City Hall.

Estimate: SEK 25 000 Lot no: 1165425

Lot no: 1144800

Hans J. Wegner, a set of 3 + 1 chairs, Plan Møbler for Aarhus City Hall, Denmark, 1941.

Oak and beech wood, braided leather seats, marked H Knak Jensen Møbelfabrik Aarhus. Seat height 47 cm, height 86 cm.

Estimate: SEK 5 000 Lot no: 1144400

Hans J. Wegner, a paper basket, model ‘B51’ Plan Møbler, Denmark, 1940’s.

Oak and teak, height 33 cm.

Estimate: SEK 10 000 Lot no: 1144384

Hans J. Wegner, a children’s chair, ‘B202’, Plan Møbler, Denmark, 1940–50’s.

Oak and grey fabric seat, stamped with maker’s mark.

Seat height 41 cm, height 69 cm.

Estimate: SEK 2 000 Lot no: 1144393

Hans J. Wegner, a set of 3 storage units for Plan Møbler, Denmark, 1940–50’s.

Oak, interior of beech. Height 75–107 cm, width 48–82 cm.

Estimate: SEK 3 000 Lot no: 1144396

Hans J. Wegner, a cabinet for Plan Møbler, model ‘A5622’, Denmark, 1940–50’s.

Base in oak, tambour doors in teak, interior in birch with drawers and shelves.

Height 128 cm, width 148 cm, depth 49 cm.

Estimate: SEK 15 000 Lot no: 1144372

Hans J. Wegner, a ‘2B’, chair, Plan Møbler, Denmark.

Oak and blue leather, seat height 46 cm, height 85 cm.

Estimate: SEK 2 000 Lot no: 1164412

Hans J. Wegner, 2 chairs, ‘2B’, Plan Møbler, Denmark.

Oak, black leather and wool fabric. Seat height 45 cm, height 86 cm.

Estimate: SEK 4 000 Lot no: 1144388

Hans J. Wegner, ‘2C’ chair, Plan Møbler, Denmark, 1940–50’s.

Oak, seat upholstered in blue curduroy.

Seat height 46 cm, height 79,5 cm.

Estimate: SEK 2 000 Lot no: 1144386

Hans J. Wegner, two mahogany telephone tables, model ‘A3404’ for Plan Møbler, Denmark, 1940’s.

Shelves and drawers. 70 x 32, height 60 cm.

Estimate: SEK 6 000 Lot no: 1144383

Hans J. Wegner, a pair of model ‘A422’ chairs for Plan Møbler, Denmark, 1940’s.

Teak, green fabric. Seat height 46 cm, height 88 cm.

Estimate: SEK 7 000 Lot no: 1144380

Hans J. Wegner, a model ‘A422’ chair for Plan Møbler, Denmark, 1940’s.

Stained beech wood, seat and back in black leather.

Seat height 46 cm, height 88 cm.

Estimate: SEK 5 000 Lot no: 1144382

Hans J. Wegner, a storage unit, Plan Møbler, Denmark, 1940’s.

Mahogany, drawers and shelves. Height 141 cm, 92 x 41 cm.

Estimate: SEK 2 000 Lot no: 1162929

Hans J. Wegner, a mahogany desk model ‘A1515’ for Plan Møbler, Denmark, 1940–50’s.

Each side with tambour doors, 190 x 95 cm, height 76 cm.

Estimate: SEK 5 000 Lot no: 1144376

Hans J. Wegner, a swivel chair for Plan Møbler, Denmark, 1960’s.

Steel, plastic and red textile, adjustable.

Seat height ca 55 cm, height 85 cm.

Estimate: SEK 30 000 Lot no: 1165406

Hans J. Wegner, an armchair, Plan Møbler for Jydsk tlf, Denmark, 1938–41.

Oak and leather. Seat height 45 cm, height 86,5 cm, .

Estimate: SEK 4 000 Lot no: 1144403

Hans J. Wegner, an armchair, Plan Møbler for Jydsk tlf, Denmark, 1938–41.

Teak and leather. Seat height 45 cm, height 86 cm.

Estimate: SEK 2 500 Lot no: 1165414

Lot no: 1144637 and 1144748

Hans J. Wegner, a model ‘M33’ rocking chair for Mikael Laursen, Denmark, 1940’s.

Teak and black leather. Seat height 39 cm, height 78 cm.

Estimate: SEK 10 000 Lot no: 1144413

Hans J. Wegner, a ‘Windsor’ chair for Mikael Lauersen, Denmark, 1940’s.

Oak, seat height 44 cm, height 86 cm.

Estimate: SEK 15 000 Lot no: 1144410

Hans J. Wegner, an ‘Acorn’ cabinet by cabinet maker Mikael Lauersen, Denmark, 1940’s.

Oak, the front decorated with stylized acorn.

Height 133 cm, width 123 cm, depth 43,5 cm.

Estimate: SEK 200 000 Lot no: 1144406

Hans J. Wegner, a set of 3 chairs + an exhibition poster, Denmark, 1940’s.

Oak and grey fabric, one decorated with burned flowers. Seat height 45 cm, height 78–84 cm.

A poster from the exhibition where the chairs were shown is included.

Estimate: SEK 8 000 Lot no: 1144416

Hans J. Wegner, a desk executed by Hans J. Wegner for Eva Wegner, 1970’s.

Rectangular with a white painted base, 152,5 x 90 cm, height 70,5 cm.

Provenance: Eva Wegner, daughter of Hans J. Wegner.

Estimate: SEK 8 000 Lot no: 1165399

Hans J. Wegner, a cabinet, executed by Hans J. Wegner for his private home, Denmark, 1945.

Lacquered wood, the front with two oregon pine doors, interior with drawers, mirror, coat hangers and shoe shelf.

Height 178 cm, width 105 cm, depth 60 cm.

Provenance: Hans J. Wegner, after moving to Copenhagen with his family, Wegner sold his closet to his neighbour Chief Physician Uldall at Ordrup Jagtvej.

It has since been handed down in the Uldall family.

Estimate: SEK 30 000 Lot no: 1144419

Hans J. Wegner, a pair of chairs, model ‘142’, FDB Møbler, Denmark, 1940’s.

Oak, seat with fabric. Seat height 44 cm, height 83 cm.

Estimate: SEK 4 000 Lot no: 1144432

Hans J. Wegner, a ‘Magasin du Nord’ chair for FDB Møbler, Denmark, 1940’s.

Beech wood and paper cord seat. Seat height 40 cm, height 82 cm.

Provenance: Magasin du Nord, Denmark.

Estimate: SEK 8 000 Lot no: 1144429

Lot no: 1165413 and 1164232

Hans J. Wegner, an oak set of ‘Peter’s Chair, table and shelf’, FDB Møbler, Denmark, 1940’s.

The table 72 x 43 cm, height 45,5 cm. The chair seat height 25 cm, height 45 cm. The shelf 90 cm, height 30 cm, depth 20 cm.

Estimate: SEK 5 000 Lot no: 1144431

Hans J. Wegner, a rocking chair, model ‘J12’, FDB Møbler, Denmark, 1940’s.

Beech wood and paper cord seat. Seat height 37 cm, height 105 cm.

Estimate: SEK 10 000 Lot no: 1144426

Hans J. Wegner, a ‘J16’ rocking chair for FDB Møbler, Denmark, 1940’s.

Beech wood, paper cord. Seat height 41 cm, height 108 cm.

Estimate: SEK 8 000 Lot no: 1144430

Hans J. Wegner, a bed and a shelf, FDB Møbler, Denmark, 1940’s.

Beech, the bed length 195 cm, width 92 cm, height 86 cm.

The inner bed measurements ca 188 x 86 cm, maker’s stamp, the shelf 42 x 15 cm, height 15 cm.

Provenance: Eva Wegner, daughter of Hans J. Wegner.

Estimate: SEK 4 000 Lot no: 1165401

Hans J. Wegner, a model ‘1934’ chair for Fritz Hansen, Denmark, 1940’s.

Stained beech, seat with yellow fabric.

Seat height 44 cm, height 75 cm.

Estimate: SEK 2 000 Lot no: 1144642

Hans J. Wegner & Børge Mogensen, a chair for Fritz Hansen, Denmark, 1940–50’s.

Beech wood, paper cord seat. Seat height 44 cm, height 77 cm.

Estimate: SEK 2 000 Lot no: 1144643

Hans J. Wegner, The ‘China Chair’, Fritz Hansen, Denmark, a prototype of model ‘4283’, executed in 1943–44.

Beech and walnut, the top part of the back rest in one solid part, seat in black leather. Seat height 42 cm, height 82 cm.

Estimate: SEK 150 000 Lot no: 1144634

Hans J. Wegner, two ‘Windsor’ chairs for Fritz Hansen, Denmark, 1940–50’s.

Beech, seat height 44 cm, height 83 cm.

Estimate: SEK 10 000 Lot no: 1144635

Hans J. Wegner, ‘The China Chair’, ‘FH1783’, Fritz Hansen, Denmark, 1940–50’s.

Stained beech and paper cord seat. Seat height 42 cm, height 80 cm.

Estimate: SEK 6 000 Lot no: 1144644

Hans J. Wegner, a ‘Shell set/ Skalsæt’ comprising a sofa, a chair and a table, Fritz Hansen, Denmark, 1950’s.

Teak plywood, base of beech, the sofa and the chair marked with FH. Sofa length ca 130 cm, seat height 39 cm, height 70 cm.

The chair width 73 cm, seat height 39 cm, height 70 cm.

The table 64,5 x 50 cm, height 53 cm.

Estimate: SEK 100 000 Lot no: 1144636

Hans J. Wegner, a ‘Heart set’, a dining table with six chairs, Fritz Hansen, Denmark, 1950’s.

Teak and oak, two chairs marked FH DANMARK. The table diameter 120 cm, height 71 cm. The chair seat height 44 cm, height 73 cm.

Estimate: SEK 40 000 Lot no: 1144639

Hans J. Wegner, ‘The Heart Chair’, Fritz Hansen, Denmark, 1950’s.

Oak and black leather. Seat height 44, height 74 cm.

Estimate: SEK 2 000 Lot no: 1164417

Hans J. Wegner, ‘The Heart chair’, Fritz Hansen, Denmark, 1950’s.

Teak and oak. Seat height 44 cm, height 74 cm.

Estimate: SEK 2 000 Lot no: 1164419

Hans J. Wegner, a chair, prototype of model ‘H55’, for Fritz Hansen, Denmark, 1955.

Oak, base in lacquered steel, seat in black artificial leather, wooden feet. Seat height 42 cm, height 73 cm.

Estimate: SEK 25 000 Lot no: 1144637

Hans J. Wegner, a model ‘2081’ table for Fritz Hansen, Denmark, 1969.

Teak, brass, marked with label, height 70 cm, diameter 95 cm.

Estimate: SEK 6 000 Lot no: 1144640

Hans J. Wegner & Palle Suenson, 3 similar chairs for ‘M/S Venus’, Denmark, 1948.

Stained oak, black leather. Seat height 46–48 cm, height 86–88,5 cm.

Estimate: SEK 30 000 Lot no: 1144649

Lot no: 1165399

Hans J. Wegner, a ‘China’ chair for Johannes Hansen, ca 1944–1945.

Walnut, leather with brass nail. Seat height 46 cm, height 91 cm.

Provenance: The previous owner used to work as a supervisor at the workshop of cabinet maker Johannes Hansen.

Estimate: SEK 150 000 / EUR 0 000 Lot no:1144654

Hans J. Wegner, a ‘Gitter’ chair for Johannes Hansen, Denmark, 1940’s.

Beech and black leather. Seat height 45 cm, height 86 cm.

Estimate: SEK 6 000 Lot no: 1144655

Hans J. Wegner, a sofa and easy chair for Johannes Hansen, Denmark, 1940’s.

Bases in oak, green and pink fabric. Seat height 41 cm, height 80 cm, the length of the sofa 134 cm.

Estimate: SEK 25 000 Lot no: 1144657

Hans J. Wegner & Børge Mogensen, a pair of book cases for Johannes Hansen, Denmark, 1940’s.

Oak, height 195 cm, width 90 cm each.

Provenance: Bought at The Cabinet Maker’s Guild in 1945.

Estimate: SEK 20 000 Lot no: 1144683

Hans J. Wegner, a sofa for Johannes Hansen, Denmark, 1945.

Upholstered in a green fabric, feet of teak. Seat height 41 cm, height 80 cm, length 190 cm.

Estimate: SEK 6 000 Lot no: 1164251

Hans J. Wegner, a tambour box on stand, Johannes Hansen, Denmark, 1944.

Palisander, interior in beech, details of brass, height 63 cm, width 50 cm.

Estimate: SEK 30 000 Lot no: 1164137

Hans J. Wegner, a ‘Cowhorn chair’, an early version of the ‘JH505’, for Johannes Hansen, 1950’s.

Teak and oak, seat in leather. Seat height 46 cm, height 75 cm.

Estimate: SEK 30 000 Lot no: 1164232

Hans J. Wegner, a ‘Cowhorn chair’, ‘JH505’, Johannes Hansen, Denmark, 1950–60’s.

Teak and cane. Seat height ca 43 cm, height 74 cm.

Estimate: SEK 30 000 Lot no: 1165413

Hans J. Wegner, a ‘JH512’ folding chair for Johannes Hansen, 1940–50’s.

Oak and cane, maker’s mark, height 75 cm.

Estimate: SEK 20 000 Lot no: 1144681

Hans J. Wegner, a model ‘JH555’ sofa for Johannes Hansen, Denmark, 1950’s.

Oak, original upholstery. Seat height 40 cm, height 77 cm, width 145 cm.

Estimate: SEK 60 000 Lot no: 1144663

Hans J. Wegner, a pair of teak and oak side tables, Johannes Hansen, Denmark, 1950’s.

Stamped with maker’s mark, 63,5 x 40,5, height 52,5 cm.

Estimate: SEK 10 000 Lot no: 1144661

Hans J. Wegner, ‘The Buck Chair’, ‘JH523’, Johannes Hansen, Denmark, 1950’s.

Upholstered seat, back and armrests with a later beige fabric, maker’s mark: JOHANNES HANSEN COPENHAGEN DENMARK. Seat height 35 cm, height 72 cm.

Estimate: SEK 200 000 Lot no: 1144664

Hans J. Wegner, a ‘JH516’ chair for Johannes Hansen, Denmark, 1950’s.

Oak and cane. Seat height 43 cm, height 75 cm.

Estimate: SEK 12 000 Lot no: 1144670

Lot no: 1144789

Hans J. Wegner, ‘The Chair’, model ‘JH501’ for Johannes Hansen, Denmark, 1950’s.

Teak and cane, maker’s mark. Seat height 44 cm, height 77 cm.

Estimate: SEK 15 000 Lot no: 1144666

Hans J. Wegner, a ‘JH525’ teak and brown leather chair, Johannes Hansen, Denmark, 1950–60’s.

Seat height 42 cm, height 78 cm.

Estimate: SEK 10 000 Lot no: 1144669

Hans J. Wegner, ‘The Chair’, ‘JH503’, Johannes Hansen, Denmark, 1950’s.

Teak and oak, seat upholstered in black leather, maker’s stamp underneath. Seat height ca 45 cm, height 77 cm.

Estimate: SEK 15 000 Lot no: 1165408

Hans J. Wegner, a ‘JH514’ chair for Johannes Hansen.

Oak and leather. Seat height 45 cm, height 83 cm.

Estimate: SEK 4 000 Lot no: 1144741

Hans J. Wegner, a model ‘JH561’ table for Johannes Hansen, Denmark, 1950’s.

Teak, height 72 cm, 159,5 x 95 cm.

Estimate: SEK 50 000 Lot no: 1144677

Hans J. Wegner, a ‘Magasin du Nord’ chair for Johannes Hansen, Denmark, 1950’s.

Oak, armrests in teak, seat and back in brown leather. Seat height 46 cm, height 85 cm. Shoe tree from Magasin du Nord included.

Provenance: Magasin du Nord, Denmark.

Estimate: SEK 6 000 Lot no: 1144673

Hans J. Wegner, a ‘JH574’ bench, for Johannes Hansen, Denmark, 1950–60’s.

Teak, maker’s mark, height 31 cm, length 120 cm.

Estimate: SEK 45 000 Lot no: 1144732

Hans J. Wegner, a daybed and a stool for Johannes Hansen, Denmark, 1964.

Beech and canvas, foldable. Height 42 cm, length of the daybed 185 cm.

Estimate: SEK 25 000 Lot no: 1144659

Hans J. Wegner, a model ‘JH575’ coffee table, for Johannes Hansen, Denmark, 1950–60’s.

Oak, top in oak and black formica, marked with label and stamped Johannes Hansen. Height 52,5 cm, the top is 60 cm x 160 cm.

Estimate: SEK 8 000 Lot no: 1144672

Hans J. Wegner, a pair of folding chairs for Johannes Hansen, Denmark, 1960’s.

Oak, seat height 37 cm, height 71 cm.

Estimate: SEK 25 000 Lot no: 1144662

Hans J. Wegner, a ‘JH811’ chair for Johannes Hansen, Denmark, 1970’s.

Chrome plated steel, upholstered with brown leather.

Seat height 44 cm, height 78 cm.

Estimate: SEK 4 000 Lot no: 1162251

Hans J. Wegner, a ‘JH701’ chair for Johannes Hansen, Denmark, 1960–70’s.

Tubular steel, leather seat, wooden backrest with details of wengé.

Seat height 44 cm, height 71 cm.

Estimate: SEK 8 000 Lot no: 1144737

Hans J. Wegner, a folding chair, prototype for Johannes Hansen, Denmark, 1960’s.

Tubular steel, seat and back in canvas. Seat height 39 cm, height 71 cm.

Estimate: SEK 20 000 Lot no: 1144665

Hans J. Wegner, a ceiling light, ‘JH1’ for Johannes Hansen, Denmark, 1950–60’s.

Brass, the inside lacquered in white. Diameter, 52 cm, height 35 cm.

Estimate: SEK 20 000 Lot no: 1144810

Hans J. Wegner, a model ‘JH513’ chair for Johannes Hansen, 1960’s.

Oak and leather, marked with label. Seat height 47 cm, height 91 cm.

Estimate: SEK 4 000 / Lot no: 1164212

Hans J. Wegner, a pair of stools, model ‘JH816’ for Johannes Hansen, Denmark, 1979.

Red lacquered wood, seat with cord, height 26 cm.

Estimate: SEK 15 000 Lot no: 1164308

Lot no: 1164251

Hans J. Wegner, a pair of ‘JH472’ chairs, Johannes Hansen, Denmark, 1980’s.

Oak and teak, seat in an orange fabric.

Seat height 46 cm, height 85 cm.

Estimate: SEK 6 000 Lot no: 1162263

Carl Hansen & Søn, a factory sign, Denmark, mid 20th century.

Painted wood, 71 cm x 40 cm.

Estimate: SEK 3 000 Lot no: 1165400

Hans J. Wegner, a prototype chair for Carl Hansen & Søn, Denmark, 1950’s.

Oak and cane. Seat height 44 cm, height 75 cm.

Provenance: Bought directly from the Carl Hansen & Søn factory.

Estimate: SEK 12 000 Lot no: 1144747

Hans J. Wegner, an easy chair model ‘CH03’,

by Carl Hansen & Søn, Denmark.

Oak, flag halyard. Seat height 32 cm, height 91 cm.

Estimate: SEK 5 000 Lot no: 1164306

Hans J. Wegner, a ‘CH08’ coffee table for Carl Hansen & Søn, Denmark.

Oak, marked with label. Height 54 cm, diameter 76 cm.

Estimate: SEK 4 000 Lot no: 1165418

Hans J. Wegner, a pair of ‘CH21’, chairs for Carl Hansen & Søn, Denmark, 1950–60’s.

Oak and grey textile, marked with label.

Seat height 43 cm, height 71 cm.

Estimate: SEK 4 000 Lot no: 1164408

Hans J. Wegner, a ‘CH23’ chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Teak and beech, the seat with cord.

Seat height 43 cm, height 75 cm.

Estimate: SEK 2 000 Lot no: 1164404

Hans J. Wegner, a ‘Wishbone Chair’, ‘CH24’, for Carl Hansen & Søn, Denmark.

Black lacquered wood, paper cord seat, stamped.

Seat height 44 cm, height 75 cm.

Estimate: SEK 2 000 Lot no: 1165405

Lot no: 1162648

Hans J. Wegner, a ‘CH29’ chair, Carl Hansen & Søn, Denmark, 1950–60’s.

Teak and oak, maker’s mark underneith the seat.

Seat height ca 42,5 cm, height 82 cm.

Estimate: SEK 2 000 Lot no: 1165404

Hans J. Wegner, a ‘CH30’ chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Teak and oak. Seat height 42 cm, height 75 cm.

Estimate: SEK 2 000 Lot no: 1165410

Hans J. Wegner, a ‘CH31’ chair, Carl Hansen & Søn, Denmark, 1950–60’s.

Teak and cane. Seat height 45 cm, height 80 cm.

Estimate: SEK 3 000 Lot no: 1164406

Hans J. Wegner, a ‘CH33’ chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Teak and oak, stamped maker’s mark underneith.

Seat height 43 cm, height 72 cm.

Estimate: SEK 2 000 Lot no: 1165409

Hans J. Wegner, a model ‘CH34’ chair, ‘Åget’, for Carl Hansen & Søn, Denmark, 1960’s.

Oak and black leather, Danish Furniture Maker’s Control label and the maker’s mark.

Seat height 45 cm, height 73 cm.

Estimate: SEK 10 000 / EUR 0 000 Lot no: 1144751

Hans J. Wegner, a ‘CH35’, chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Black lacquered wood, stamped and label marked.

Seat height 44 cm, height 72 cm.

Estimate: SEK 5 000 / EUR 0 000 Lot no: 1164418

Hans J. Wegner, a ‘CH36’ chair, for Carl Hansen & Søn, Denmark, 1950–60’s.

Oak, seat with cord. Seat height 43 cm, height 77 cm.

Estimate: SEK 2 000 / EUR 0 000 Lot no: 1164405

Hans J. Wegner, a ‘CH37’ chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Oak, the seat with cord. Seat height 43 cm, height 79 cm.

Estimate: SEK 3 000 / EUR 0 000 Lot no: 1164401

Hans J. Wegner, a ‘CH39’ chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Oak, grey fabric, maker’s marks and label.

Seat height 43 cm, height 78 cm.

Estimate: SEK 3 000 Lot no: 1164403

Hans J. Wegner, a teak ‘CH40’ chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Seat with cord, marked with label. Seat height 43 cm, height 79 cm.

Estimate: SEK 2 000 Lot no: 1164407

Hans J. Wegner, a ‘CH45’ rocking chair, a prototype for Carl Hansen & Søn, Denmark, 1960’s Black lacquered, seat with cord.

Seat height ca 39 cm, height 98 cm.

Estimate: SEK 5 000 Lot no: 1144785

Hans J. Wegner, a ‘CH47’ chair for Carl Hansen & Søn, Denmark.

Beech, seat with cord. Seat height 43 cm, height 77 cm.

Estimate: SEK 2 000 Lot no: 1164413

Hans J. Wegner, a model ‘CH50’ chair for Carl Hansen & Søn, Denmark, 1950–60’s.

Green lacquered wood, the seat with fabric, label marked.

Seat height 43 cm, height 78 cm.

Estimate: SEK 2 000 Lot no: 1144752

Hans J. Wegner, a ‘CH53’ stool for Carl Hansen & Søn, Denmark.

Beech, paper cord seat, marked with label.

Height 41 cm, 38 cm x 50 cm.

Provenance: Eva Wegner, daughter of Hans J. Wegner.

Estimate: SEK 2 000 Lot no: 1165417

Hans J. Wegner, an ‘AT9’ sofa table, an exhibition model

by Andreas Tuck, for the H55 exhibition in 1955.

Black lacquered tubular steel, wooden feet, rectangular oak top.

Width 150 x 59,5 cm, height 53,5 cm.

Provenance: A former employee, responsible for curating the exhibitions at Andreas Tuck.

Estimate: SEK 18 000 Lot no: 1144748

Hans J. Wegner, an ‘AT45’ tea trolley, Andreas Tuck, Denmark, 1950–60’s.

Oak, on wheels, maker’s marks underneith.

Width 73 x 47,5 cm, height 60,5 cm.

Provenance: Eva Wegner, daughter of Hans J. Wegner.

Estimate: SEK 5 000 Lot no: 1165415

Lot no: 1144384

Hans J. Wegner, an ‘AT308’ coffee table for Andreas Tuck, Denmark, 1950–60’s.

Oak and teak, maker’s mark. Height 56 cm, 60 cm x 100 cm.

Estimate: SEK 6 000 Lot no: 1144782

Hans J. Wegner, an ‘AT325a’ desk by Andreas Tuck, Denmark, 1960–70’s.

Oak, steel, maker’s mark. Height 72 cm, 205 x 90 cm.

Estimate: SEK 12 000 Lot no: 1144750

Hans J. Wegner, a square oak prototype sofa table, Andreas Tuck, Denmark, 1967.

130 x 130 cm, height 42,5 cm.

Estimate: SEK 25 000 Lot no: 1144745

Hans J. Wegner, a teak ‘W2’, chair for CM Madsen, Denmark, 1950’s.

The seat with cane, marked CM Madsen.

Seat height 44 cm, height 76 cm.

Estimate: SEK 2 000 Lot no: 1164409

Hans J. Wegner, a set of three bookcases, ‘RY8’, Ry Møbler, Denmark, 1950’s.

Oak, some pieces with maker’s stamp and dated 1953.

Each section height 72 + 109 cm (total height 181 cm).

Width 100 cm, depth 49 cm (the upper sections 33 cm).

Estimate: SEK 20 000 Lot no: 1144759

Hans J. Wegner, a stool, model ‘AP30’ for AP Stolen, Denmark, 1950–60’s.

Oak and red leather, marked with Danish Furnituremaker’s control plaque. Height 52 cm, 70 x 41 cm.

Estimate: SEK 12 000 Lot no: 1164219

Hans J. Wegner, a ‘Wing Chair’, AP Stolen, Denmark, 1960’s.

Steel base, upholstered in an orange fabric by Hallingdal.

Seat height ca 36 cm, height 101 cm.

Estimate: SEK 30 000 Lot no: 1144742

Hans J. Wegner, a sofa, ‘The Lufthavnssofa’, ‘AP35’, for AP Stolen, Denmark, 1960’s.

Black leather and chrome plated metal legs, marked with Danish Furnituremakers Control plaque. Seat height 40 cm, height 73 cm, length 193 cm.

Estimate: SEK 15 000 Lot no: 1144749

Lot no: 1144677

Hans J. Wegner, a model ‘AP52’ chair for AP Stolen, Denmark, 1960–70’s.

Tubular steel, the seat upholstered with artificial leather, armrests in palisander, marked with Danish Furnituremaker’s Control metal label. Seat height 46 cm, height 83 cm.

Estimate: SEK 8 000 Lot no: 1144791

Hans J. Wegner, an ‘AP44’ footrest, AP Stolen, Denmark.

Tubular steel, the foot rest of rubber, the seat with blue artificial leather, height 31 cm.

Estimate: SEK 3 000 Lot no: 1164296

Hans J. Wegner, a set of four candlesticks, Getama, Denmark, made for the employees at Getama.

Teak and pine, maker’s stamps. 9,8 x 9,8 cm, height 2,3 cm.

Estimate: SEK 2 000 / Lot no: 1165402

Hans J. Wegner, a ‘Flag Halyard/Snørestolen’ model ‘GE225’ for Getama, Denmark.

Steel frame, partly white lacquered, seat in flag halyard, comes with a sheepskin, neckrest in black leather, feet in plastic.

Seat height 39 cm, height 80 cm.

Estimate: SEK 80 000 Lot no: 1144740

Hans J. Wegner, a ‘GE233’ easy chair for Getama, Denmark, 1960’s.

Beech, upholstered in green textile, adjustable seat position.

Seat height 39 cm, height 74 cm.

Estimate: SEK 5 000 Lot no: 1165411

Hans J. Wegner, a rocking chair, prototype for Getama, Denmark, 1967.

Base in beech wood, seat and back in green fabric.

Seat height 39 cm, height 102 cm.

Estimate: SEK 10 000 Lot no: 1144786

Hans J. Wegner, a model ‘GE240’ easy chair ‘The Cigar’

by Getama, Denmark, 1950–60’s.

Oak and grey wool fabric, maker’s mark, Getama.

Seat height 39 cm, height 74 cm.

Estimate: SEK 10 000 / Lot no: 1144783

Hans J. Wegner, a teak stool, model ‘GE240’ for Getama, Denmark.

Upholstered in blue fabric, marked Getama. Seat height 36 cm.

Estimate: SEK 3 000 Lot no: 1164416

Hans J. Wegner, an easy chair model ‘GE271’, Getama, Denmark, 1960’s.

Oak, the back with flag halyard, cushions with a beige fabric, maker’s mark.

Seat height 38 cm, height 72 cm.

Estimate: SEK 4 000 Lot no: 1164261

Hans J. Wegner, a ‘GE375’, easy chair for Getama, Denmark, 1970’s.

Oak, grey textile, maker’s mark. Seat height 40 cm, height 95 cm.

Estimate: SEK 8 000 Lot no: 1162675

Hans J. Wegner, a ‘GE375’ easy chair for Getama, Denmark, 1970’s.

Oak, the back with braided flag halyard, seat and neck rest with grey fabric, marked with label. Seat height 40 cm, height 95 cm.

Estimate: SEK 8 000 Lot no: 1144754

Hans J. Wegner, a ‘GE376’, chair for Getama, Denmark, 1970’s.

Oak, brown leather. Seat height 48 cm, height 77 cm.

Estimate: SEK 2 000 Lot no: 1164399

Hans J. Wegner, an easy chair, a prototype of model ‘GE501’, Getama, Denmark, 1970’s.

Mahogany, upholstered in beige fabric. Seat height 38 cm, height 81 cm.

Provenance: Purchased directly from Getama by former owner ca 1970.

Estimate: SEK 30 000 Lot no: 1144746

Hans J. Wegner, an easy chair with ottoman, ‘GE440’, an exhibition model for Getama, Denmark, 1968–69.

Base in white lacquered tubular steel, seat and back with cushions in green fabric, marked with maker’s mark. Seat height 38 cm, width 75 cm, height 83 cm.

Provenance: Former employee at Getama, responsible for the exhibitions.

Estimate: SEK 15 000 Lot no: 1162648

Hans J. Wegner, a ‘GE440’ easy chair with ottoman, an exhibition model for Getama, Denmark, 1968–69.

Base in red lacquered tubular steel, seat and back with cushions in a blue fabric.

Seat height 38 cm, width 93 cm, height 83 cm.

Provenance: Former employee at Getama, responsible for the exhibitions.

Estimate: SEK 15 000 Lot no: 1144744

Hans J. Wegner, a ‘GE453’ tray table for Getama, Denmark, 1970’s.

Tubular steel, the top in black and white formica with oak and wenge details.

Height 33 cm, diameter 62 cm.

Estimate: SEK 5 000 Lot no: 1144784

Lot no: 1144732

Hans J. Wegner, a ‘GE520’ folding chair/table for Getama, Denmark, 1960’s.

Oak, seat height 28 cm, height 77 cm.

As a table the height is 28 cm, 62 x 62 cm.

Estimate: SEK 4 000 Lot no: 1162676

Hans J. Wegner, a ‘GE525’ chair for Getama, Denmark, 1970’s Oak, seat with fabric, maker’s mark Getama.

Seat height 43 cm, height 70 cm.

Estimate: SEK 2 000 Lot no: 1164400

Hans J. Wegner, a ‘GE530’ stool, Getama, Denmark.

Oak, cushion upholstered in beige fabric, maker’s stamp underneith.

73 x 57,5 cm, height 37 cm.

Estimate: SEK 2 000 Lot no: 1165403

Hans J. Wegner, a ‘GE673’, ‘The Keyhole’, prototype rocking chair in a special colour, Getama, Denmark, 1970’s.

Lacquered wood, seat and back in canvas, marked.

Seat height 40 cm, height 103 cm.

Provenance: Eva Wegner, daughter of Hans J. Wegner.

Estimate: SEK 12 000 Lot no: 1165421

Hans J. Wegner, a rocking chair, model ‘GE673’, ‘The Keyhole’, Denmark, 1970’s.

Oak and leather. Seat height 39 cm, height 102 cm.

Estimate: SEK 10 000 Lot no: 1144789

Hans J. Wegner, a rocking chair, model ‘GE674’ for Getama, Denmark.

Beech wood, seat with girths. Seat height 42 cm, height 75 cm.

Estimate: SEK 8 000 Lot no: 1144788

Hans J. Wegner, a set of 6+3+1 ‘Politiken’ chairs for Getama, Denmark.

Black lacquered wood, seats in different colours.

One seat with fabric, 6 folding chairs, 4 fixed chairs.

Seat height 43 cm, height 78–80 cm.

Provenance: The cantine at the newspaper ‘Politiken’.

Estimate: SEK 6 000 Lot no: 1144790

Hans J. Wegner, a pair of ‘GE30’, cinema chairs, Getama, Denmark, 1970’s.

Base in black lacquered steel, upholstered in purple fabric.

Seat height 42 cm, height 70 cm.

Estimate: SEK 4 000 Lot no: 1144755

Lot no: 1144677

Hans J. Wegner, an outdoor light, Louis Poulsen, Denmark, 1976.

Metal and plexi glass shade, height 139 cm.

Estimate: SEK 6 000 Lot no: 1144651

Hans J. Wegner, a ceiling light, Louis Poulsen, Denmark, 1960–70’s.

White lacquered metal shade with details of steel, adjustable height, marked with label.

Diameter 52 cm, height 32 cm.

Estimate: SEK 3 000 Lot no: 1144808

Hans J. Wegner, an oak set comprising a table and six chairs, in a unique colouring, PP Møbler, Denmark, 1970–71.

Partly lacquered in coral red. The table diameter 140 cm, two leaves à 60 cm, total length 260 cm.

The chair seat height 42 cm, height 72.

Provenance: Johannes Hansen’s showroom.

Estimate: SEK 75 000 Lot no: 1144800

Hans J. Wegner, 4 folding chairs, model ‘PP90’, for PP Møbler, Denmark, 1970’s.

Beech and leather. Seat height 43 cm, height 87 cm.

Estimate: SEK 15 000 Lot no: 1144801

Hans J. Wegner, 3 chairs by PP Møbler, model ‘PP68’, ‘PP203’ and ‘PP209’.

Ash and oak. Seat height 40–42 cm, height 70–75 cm.

Estimate: SEK 7 000 Lot no: 1144802

Hans J. Wegner, an easy chair, ‘Cirkelstolen’, ‘PP130’, PP Møbler, Denmark, 2006.

Ash, seat and back in flag halyard, cushion and neckrest in textile, marker’s mark. Seat height 42 cm, height 98 cm.

Provenance: Eva Wegner, daughter of Hans J. Wegner.

Estimate: SEK 15 000 Lot no: 1144803

Hans J. Wegner, a ‘PP35’, tray table for PP Møbler, Denmark.

Oak, marked with label, height 49 cm, diameter 61 cm.

Provenance: Eva Wegner, daughter of Hans J. Wegner.

Estimate: SEK 3 000 Lot no: 1165412

Hans J. Wegner, a ‘Cantine chair’, PP Møbler, 1980’s.

Oak and seat with cord, marked with label.

Seat height 42 cm, height 77 cm.

Estimate: SEK 2 000 / Lot no: 1164398

Lot no: 1144740