Chrome-plated steel, cane and vegetable-tanned leather
Made by E. Kold Christensen
KAJ GOTTLOB (1887 -1976)
Denmark
Unique display cabinet, 1922
Cuban mahogany, brass and glass
Made by Anders Svendsen
Saint Lukas Church, Aarhus, Denmark
The dawn of modernism
The beginning of the 20th century was defined by a revival of classicist traditions, which ultimately culminated in the 1920s. This meant a new idealization of the artistic style introduced in ancient Greece and Rome. Yet, it was not simply a celebration of classicist forms and ornamentations, but more so a reinvention of the classicist demands of clarity, moderation, and harmony. The 1920s were generally characterized by aesthetic disruption, as new ideas of modernity were introduced. Times were changing, and the beginning of a new era in Danish architecture and furniture design was on the rise. Today, this mid-century era, marked by the first edition of the Copenhagen Cabinetmaker’s Guild exhibition in 1927 is described as the Golden Age of Danish design and the results are recognized around the world. However, these crucial years just before 1927 are rarely emphasized despite their vast impact on the creation of modern furniture as we know it today.
Kaj Gottlob had already made a name for himself as a prominent employee at the renowned architect Hack Kampmann’s studio. In 1924 he became a professor at the Royal Academy, the same year as the department of furniture design was established under the leadership of Kaare Klint. In 1936 he was appointed as Royal building inspector, and the legacy of his work is still a vital presence in Danish architecture.
Gottlob was inspired by the monumental ideals of classicism, as this present cabinet exemplifies. He was well-traveled and found great inspiration on his trips around Europe and Greece in particular. The beautifully crafted meander border – a la Grecque – decorating the base of the cabinet alongside the Romanesque arches on the glass doors demonstrates his appreciation of modest, geometric outlines. The same elegant arch was used for the windows at the Saint Lukas Church in Aarhus, Denmark build in 1926 - one of his many architectural masterpieces.
Additionally, the cabinet embodies Gottlob’s classicist nature as an architect, using repetition and rhythm, as an essential element that creates harmony and balance. Gottlob believed it was essential to simplify the highly ornate style of the past, whilst preserving its harmonious proportions and high standards of craftsmanship. The cabinet stands as a testimony to a pivotal time in the history of Danish Furniture design and is one of the earliest articulations of Danish modernism.
PAAVO TYNELL (1890 -1973) Finland
Table lamp, 1940’s Brass, partly painted and cane
Made by Taito Oy
FINN JUHL (1912 -1989)
Denmark Sofa, 1945
Brazilian rosewood, textile and leather
Made by Niels Vodder
FINN JUHL (1912 -1989)
Denmark
Pair of easy chairs, 1945 Brazilian rosewood, textile and leather Made by Niels Vodder
BIRGER KAIPIAINEN (1915 -1988)
Finland
Dish, 1960’s
Lustre glazed stoneware
Made by Arabia
Dia: 48 cm
POUL HENNINGSEN (1894 -1967)
Denmark
Grand Piano, 1931
Chrome-plated steel, brass, leather, painted iron, wood and perspex
Made by Andreas Christensen
A Grand Piano
Poul Henningsen was a prominent figure of his time – not only in the world of design, but he also achieved great influence as a writer, and sharp critic of art, architecture and society. He was known as a progressive thinker, not shy of expressing his opinions. He was particularly vocal about his beliefs on the necessity to combine art and technique in order to improve design. This symbiosis is manifested in his lamp design where aesthetics and function are always equally represented. Lastly, Henningsen also possessed a great passion for music, creating numerous songs for the national revues.
In 1931, a few years after introducing his iconic three-shade system, Henningsen designed an extravagant Grand Piano that perfectly embodies his avant-garde persona. As his lighting design, the ‘Mignon’ Piano transformed conventional standards of what a piano could look like, illustrating the radical ideas of modernism. A musical instrument that transcends its function, with its distinctive, eccentric and sculptural form that becomes the natural focal point of any setting. The open, transparent top, reveals the technical engineering of the piano, creating a much more tangible musical experience, where you not only listen but observe the sound.
The present example is one of the first twelve examples made by renowned piano maker Andreas Christensen in the 1930’s. In 1965 it came back on the market and Henningsen saw the opportunity for his close friend and colleague Gunnar Bratvold to acquire one of the original examples. Bratvold (1909-1965) was the editor and owner of the international publication Mobilia – a magazine covering architecture, art and design. Henningsen was one of their editorial contributors and the magazine was the leading communicator of Danish design. Bratvold’s home also served as the Mobilia headquarter and was a vibrant gathering place for the cultural radicals of the time.
AXEL SALTO (1889 -1961) Denmark
Pair of vases, 1935 & 1944
Stoneware with Gundestrup glaze
Made by Royal Copenhagen
Height:18,5 cm & 15 cm
AXEL EINAR HJORTH (1888 -1959)
Sweden
”Utö” table, 1932
Extendable version with to addtional leaves
Pine
Made by Nordiska Kompaniet
AXEL EINAR HJORTH (1888 -1959)
Sweden
High-back ”Lovö” chairs, 1932 Pine, textile and iron Made by Nordiska Kompaniet
SAS Royal Hotel, Copenhagen
ARNE JACOBSEN (1902 -1971)
Denmark
Drawer units, 1958
Wengé, formica, maple and steel
Made by Weber & Asmussen
Provenance: The SAS Royal Hotel, Copenhagen
Interior from the SAS Royal Hotel
ARNE JACOBSEN (1902 -1971) Denmark
Pair of wall lights, 1958
Plexi glass, steel and bakelite
Provenance: The SAS Royal Hotel, Copenhagen
Made by Louis Poulsen
FINN JUHL (1912 -1989)
Denmark
Table bench, 1953
Brazilian rosewood, gunmetal, brass and textile
Made by Bovirke
BARBRO NILSSON (1899 -1983)
Sweden
Rug, ”Juniper”, 1946 Wool, tapestry weave
Made by Märta Måås-Fjetterström AB 305 x 203 cm
POUL KJÆRHOLM (1929 -1980)
Denmark
PK61 coffee table, 1956
Chrome-plated steel and Porsgrunn marble
Made by E. Kold Christensen
An extraordinary dining set
The Danish furniture company Fritz Hansen was established in 1872 and has since become an integrated part of Danish design history. As the first large-scale workshop, the company gained a leading position in the early years of Danish modernism, facilitating some of the most iconic designs during this period. Mostly celebrated for its serial productions, the company also created unique, commissioned pieces for clients who wanted something extraordinary.
One of those clients was business tycoon Jens Udsen (1888-1947). After spending several years working abroad, Udsen returned home in 1920 to start a successful career as a luxury hotel developer. In 1928, he acquired Hotel Postgaarden in Slagelse, transforming it into an important cultural establishment. Udsen maintained a private residence in the hotel. He was an established art collector, and the apartment was carefully curated with contemporary art. It was for this space the present dining set was commissioned in 1942.
The set includes an extendable dining table in Cuban mahogany with five extension leaves, allowing it to accommodate any occasion. It has a modest beauty, eliminating any superficial decorations, allowing the material and craftsmanship to speak for themselves, whilst creating visual space for the extraordinary set of chairs. Defined by a refined elegance, the sculptural outline of the chairs becomes the main focal point of the set, as the expansive, almost wing-like curvature of the backrest provides a powerful expression that naturally captivates the eye. The concept of separating the upholstered elements from the wooden frame was considered highly contemporary at the time, testifying to its distinctive modern feel. The seat and back are upholstered in original, natural leather which has obtained a beautiful patina.
Additionally, the set includes a large wall-mounted sideboard, also executed in Cuban mahogany, with beautifully sculpted brass handles, creating a visual coherence with the table and chairs. To complete the set a small wall-mounted console with cream-coloured painted fronts beautifully contrasts the dark wood, elevating the overall expression of the set. The result is an impressive interior, defined by exquisite materials and craftsmanship. Characterized by an elegant simplicity and delicately designed details, the set represents the pinnacle of Danish modernism.
Denmark
Set of twelve chairs, 1942 Cuban mahogany and leather Made by Fritz Hansen
FRITZ HANSEN
Denmark
Dining table, 1942
Cuban mahogany and brass
Made by Fritz Hansen
FRITZ HANSEN
Denmark
Sideboard, 1942
FRITZ HANSEN
Cuban mahogany, maple, partly painted and brass
Made by Fritz Hansen
Denmark
Sideboard, 1942
mahogany, maple and brass
Made by Fritz Hansen
FRITZ HANSEN
Cuban
RUT BRYK (1916 -1999)
Finland
Ceramic relief, 1950’s
Glazed ceramic
Made by Arabia
58 x 25 cm
STIG LÖNNGREN (1924 -2022)
Sweden
Cabinet, 1960’s
Pine
Provenance: Stig Lönngren
STIG LÖNNGREN (1924 -2022)
Sweden Desk, 1960’s Pine and steel
Provenance: Stig Lönngren
IB KOFOD LARSEN (1921-2003)
Denmark
Lounge set, 1959
Teak and leather
Made by Christensen & Larsen
A rare lounge set
Ib Kofod-Larsen (1921-2003) is among the Danish 20th Century designers who took a more playful and expressive approach to furniture design. He graduated from the Department of Furniture Design at the Royal Danish Academy of Fine Arts in 1945 and established his own studio in 1948, where he collaborated with a number of Danish and international cabinetmakers and manufacturers throughout his career. Inspired by Finn Juhl’s sculptural works, Kofod-Larsen is known for his organic design which conjoin beauty and elegance with ergonomic considerations.
The present rare lounge set was designed in 1959 where it was also exhibited by the cabinetmakers’ Christensen & Larsen at the annual Copenhagen Cabinetmakers’ Guild Exhibition. The set consists of an extraordinary, cross-shaped lounge table covered with a beautiful, patinated leather top on a base in teak. The table is accompanied by four lounge chairs, designed to perfectly accommodate the unique shape of the table. The chairs are defined by their distinctive, winged armrest elegantly finished with a seamless transition of materials, portraying the leather as a natural extension of the wood. Besides the unusual outline of the table, the design is remarkably low, as the table was originally presented with cushions that could be used as a footrest. This unique configuration creates an interesting, yet comfortable and casual seating experience albeit in a strictly defined formation and is a beautiful example of Kofod-Larsen’s innovative and expressive style.
PALLE SUENSON (1904
Denmark
Pendant, c. 1940
Laquered metal and brass
-1987)
ARNE
(1901 -1983)
Denmark
Large bowl, 1933
BANG
Glazed stoneware Dia: 41,5 cm
ARNE JACOBSEN (1902 -1971) Denmark
Pair of ”Oxford” chairs, 1962 Oak
Made by Fritz Hansen
Saint Catherine’s College, Oxford. Photographed by Arne Jacobsen
FINN JUHL (1912 -1989) Denmark
Extendable dining table, 1949 Teak and silver Made by Niels Vodder
FINN JUHL (1912 -1989) Denmark
Set of ”Egyptian” chairs, 1949 Teak and textile Made by Niels Vodder
ALVAR AALTO (1898 -1976)
Finland
Table bench, c. 1940’s Pine and elm
Made by Oy, Huonekalu-ja Rakennustyötehas AB, Turku
Aino Aalto and Maire Gullichsen at Villa Mairea, c. 1940
Defined by form
Finnish architect and designer Alvar Aalto (1898-1976) is regarded as Finland’s leading figure in the field of 20th Century Modernism. His work covers a wide span, from large-scale architectural projects, furniture and lighting design, to glassware, textiles and jewelry. Like his Danish contemporary Arne Jacobsen, Aalto combined architecture and design, regarding furniture and lighting as integral parts of the building and hence no less important than the architectural frame. It was characteristic of Aalto to treat each building as a complete work of art – right down to the furniture and light fittings. Most of his designs were thus made in connection with specific architectural projects.
In his early years as an architect, Aalto practised the pure functionalist form, enabling his international breakthrough with renowned projects such as the Paimio Sanatorium (19291933). However, from the late 1930s and onwards, his artistic expression was enriched by a more organic idiom. As a designer, Aalto is especially renowned for his organic and sculptural style. One of the most recognized examples is his “Savoy” vase, originally titled Eskimoerindens skinnbuxa (The Eskimo woman’s leather trousers), as it was inspired by the folds formed on traditional Inuit leather trousers. The vase marks the introduction of a freer, modernist form, which became distinctive of his entire oeuvre.
The present table bench exemplifies Aalto’s experimental and unconventional design approach. The curved, asymmetrical form combined with the contrasting linear slats provides a dynamic and strong graphic outline, beautifully testifying to his distinctive, organic idiom. Aalto favoured a natural and limited palette of materials, allowing the form to ultimately define the finished piece. The overt simplicity of the present piece endows it with a modest beauty, whilst exposing the constructional screws imbues it with a sensation of honesty and integrity.
Despite its natural simplicity, the piece embodies several stylistic features, like the time-specific weightiness of the legs, countered by the modernist transparency and thus visual lightness of the slats. It stands as a historical testimony to the very early stages of steam-bending wood, whilst expressing a contemporary presence that succeeds in any modern context. The table bench is an extraordinary, rare piece, most likely made as an exclusive, commissioned piece. A similar example, differing by a slightly different curvature, was designed for his renowned Villa Mairea (1937-1940).
ALVAR AALTO (1898 -1976)
Finland
Pair of easy chairs, 1933
Birch and textile
Made by Oy, Huonekalu-ja Rakennustyötehas AB, Turku
HANS J. WEGNER (1914 -2007)
Denmark Desk, 1970
Wengé, chrome-plated steel, aluminium and oak
Made by Johannes Hansen
HANS J. WEGNER (1914 -2007)
Denmark
Set of eight chairs, 1970
Chrome-plated steel and leather
Made by Johannes Hansen
Interior from the Danish Pavillion at the Exposition Internationale in Paris, 1925. The Pavillion including most of the interior was designed by Kay
