In 1956 @fritzhansen began crafting one of the world's most iconic designs - the Series 7™ by #ArneJacobsen . Here we share a rare glimpse from the archives, capturing the early production of this now prolific piece.
Torn asunder by this deep, dark portrait that I just acquired. An early painting, oil on plywood, by renowned Danish classical modernist (so-called) Søren Hjorth Nielsen (1901-1983). It was done in 1927, while SHN was under the influence of expressionism, and the sitter is his friend at the Danish Royal Academy of Art, Ejnar Larsen. It is 41x45 cm. There's a surprising flux of colour on closer inspection, vivid splashes of yellow, Prussian blue, green, orange, embedded in the thick tangle of olive and hues of brown. If anyone wishes to buy this or swap objects please let me know. #sørenhjorthnielsen#hjorthnielsen#danishmodernism#danishart#expressionism#portraitofafriend#thickandcoloured#weird
Flemming Lassen has moved to the top of Vintage Danish furniture recent years. Previously not so well documented a lot of has been attributed to his shoulders that he should honestly not be blamed for.. but one persistent error that cannot be stamped out, is the idea that somehow he had a collaboration with the maker Georg Kofoed based on some pieces he designed for the 1938 Copenhagen Cabinetmaker’s exhibition. Caused by a simple reading error of Grete Jalk’s 4-volume books of 40 years of Danish furniture design , the otherwise splendid database -furnitureindex - run by Design Museum Danmark has placed his pieces as made by Georg Kofoed instead of , as they correctly should be, by cabinetmaker Thorald Madsen. Thorald Madsen one of the great cabinetmakers through 4 decades collaborating with many great designers ..Georg Kofoed on the other hand known as a maker and retailer of period furniture, stylecopies, and generally considered poor taste.... This mix-up has led to many amusing stories, so that by now a piece that somehow has a label from Georg Kofoed is probably an unknown prototype by Flemming Lassen and along this line. Let us be clear Georg Kofoed has nothing - none - zero to do with Flemming Lassen ! #flemminglassen#thoraldmadsen#georgkofoed#danishdesign#danishmodernism#1938#1930s#nordicdesign#danishmodern#error#misread#furnitureindex#gretejalk#40yearsofdanishfurnituredesign
#16 “Where did you go ?” We are back in the mid 1930s and the early days of Danish modernism. The architect and later professor and principal of the Royal Academy of Arts Palle Suenson is in the period involved with a face-lift of the Danish Bank Privatbanken. He designs a new modern look for several branches including the interiors with furniture and all. Through the modern glass door we find this tubular steel chair in the lobby with nice padded leather seat. The only comparable Danish chair I have seen was a contemporary Mogens Lassen that passed my way some years ago. Where the Nordea bank has deposited these chairs remains unknown - I guess the dumpster could be the answer..#pallesuenson#danishmodernism#1935#1930s#bauhausstyle#privatbanken#danishdesign#nordicdesign#danishmodern
Detail of our new Soft Top seating collection for our newest client @skandiform, one of two new collections of ours launching in one week at the Stockholm Furniture Fair. Let me know if you’re in town for the show!
Kaare Klint | 7. As a designer, architect, teacher and curator, Kaare Klint played a pivotal role in the development of one of the most popular design movements of the 20th century, Danish modernism. By combining the efficiency of technological advances with the warmth and comfort of natural materials and craft techniques, Klint and his contemporaries humanised the modernist style, thereby ensuring that appealed to a wider audience, especially in culturally conservative countries like the UK and US. Arne Jacobsen, Hans Wegner, Verner Panton and other younger Danish designers were all influenced and inspired by Klint, even if they expressed his values differently. The clarity and sincerity of his approach to design has proved remarkably enduring at a time when design is becoming increasingly elastic and eclectic as it expands into ever more diverse fields. Klint’s underlying values of utility, economy, sensitivity and rigour, and his belief in design’s power to help us to build a better world, are evident in the social, humanitarian and ecological design projects that now define Danish design, like the pioneering Cycle Super Highway network that courses through Copenhagen. #design#socialdesign#sustainabledesign#kaareklint#danishmodernism#nordicmodernism#copenhagencyclesuperhighway
Kaare Klint | 5. Whenever Kaare Klimt found an interesting piece of furniture, he’d take it to the Royal Danish Academy of Fine Arts to discuss it with his students. Among his favourites was a seemingly simple wooden chair with a ‘ladder-back’ of horizontal supports made in the furniture workshop of the Shaker community at Mount Lebanon in New York State. The chair, identified as a #7 in the Mount Lebanon mail order catalogue was made in the late 1800s and arrived in Denmark in 1927. The Shakers prided themselves on the economy, modesty, precision, usefulness and durability of everything they made: all qualities that appealed to Klint. Having made a rigorous analysis of the Shaker chair, he applied aspects of its form and structure to his own work in furniture design. Klint’s research culminated in the beautiful Church Chair that he designed in the 1930s to furnish his father’s architectural masterpiece, Grundtvig’s Church in Copenhagen. #design#architecture#kaareklint#churchchair#grundtvigschurch#shakerdesign#shaker#7#danishmodernism#nordicmodernism
Kaare Klint | 4. After the success of the Faaborg Chair, Kaare Klint was in steady demand as a furniture designer, and by the mid-1920s, was forging a parallel career as a design teacher and curator. Together with Thorkild Henningsen and Ivar Bentsen, he was charged with converting a beautiful rococo building in Copenhagen, the mid-18th century Fredriks Hospital, into a new home for the Danish Museum of the Arts and Design, now Designmuseum Denmark. As well as contributing to the building, Klint designed the furniture and interiors, including this library. He then emerged as an important influence over the museum’s programme, using exhibitions, lectures and acquisitions for the collection as means of raising public awareness of his vision of modern design and craftsmanship. Klint did the same at Denmark’s most prestigious art and architecture school, the Royal Danish Academy of Fine Arts, where he founded a department of furniture and spatial design in 1923, and was appointed professor the following year. An inspiring and dedicated teacher, Klint taught and mentored a succession of gifted young designers and makers, including Poul Kjaerholm and Borge Møgensen. Many of them went on to become successful teachers in their own right, and to instil Klint’s design principles in subsequent generations. Klint insisted that his students should start the design process with rigorous research into the details of how the object or environment would be used and should be constructed, yet he also encouraged them to define their own design languages, rather than imitating his. #design#architecture#kaareklint#danishmodernism#danishdesignmuseum#royaldanishacademyoffinearts#scandinavianmodernism#nordicmodernism
Kaare Klint | 3. When the Danish industrialist, Mars Rasmussen, decided to open a museum to display his collection of the work of the Funen Painters, a colony of artists who lived on the island of the same name, he commissioned one of Denmark’s leading architects, Carl Petersen to design the building. Petersen asked an assistant, Kaare Klint, to work with him on a collection of furniture for the new museum in 1914. Together they developed sofas, tables, desks, cabinets and a clock, though Petersen allowed Klint to design a series of chairs and stools for use by visitors in the galleries and archive on his own. The seats needed to be comfortable to sit on, yet light enough to be moved so people could perch in front of particular paintings and study them at length. Klint’s solution is considered to be the first example of modern Danish design by combining the traditional qualities of fine craftsmanship and the natural beauty of the oak, walnut or mahogany used in the frame, and the leather and cane in the upholstery with a formal simplicity defined by the chair’s intended function and the need to ensure that it did not detract from the exhibits. Fourteen of Klint’s chairs and seven accompanying stools were made as the first edition. The Faaborg Chair, as it is called, was an instant success when the museum opened in 1915, and has been used there ever since. Photo by Kristine Mengel. #design#architecture#kaareklint#carlpetersen @faaborgmuseum #faaborgchair#danishmodernism#scandinavianmodernism#nordicmodernism
Kaare Klint | 2. The greatest single influence on Kaare Klint was his redoutable father Peder Vilhelm Jensen-Klint. Talented, determined and resourceful, Peder started out by studying structural engineering only to reinvent himself as an artist. Sadly, he earnt so little money from art that he taught maths to make ends meet. By 1889, a year after Kaare’s birth, he changed course to work for Copenhagen’s city engineer, and then turned to architecture after being asked to design the homes of various friends. Peder treated each project as an opportunity to experiment with different materials, mostly bricks, which one of his teachers, Johan Daniel Herbolt, had popularised in his design of the Copenhagen Municipal Library. Peder used bricks to reconstruct the sturdy, geometric forms of historic Danish manor houses and churches. By the early 1910s, he was being commissioned to design churches as well as houses, and combined them both in his best known project, the colossal yellow brick Grundtvig’s Church and the surrounding housing in the Bispebjerg area of Copenhagen. Peder won a competition to design them in 1913, but construction ceased during World War I, and most of the work was conducted in the 1920s. The same size as Copenhagen Cathedral, Grundtvig’s Church was a huge endeavour. Peder travelled throughout Denmark to study Gothic village churches, their aesthetics and construction techniques. He drew on those historic influences in his design of the Grundtvig’s Church, while affirming its modernity in the geometric yellow brick structure, bereft of decoration. Peder died in 1930 before his masterwork was completed, and Kaare finished the building for him. #design#architecture#kaareklint#pedervilhelmjensenklint#grundtvigschurch#danishmodernism#scandinavianmodernism#nordicmodernism
Kaare Klint | 1. This week’s posts will be on the pioneer of Danish modernism, the designer and architect Kaare Klint, to mark the anniversary on Friday of his birth on 15 December 1888. The son of the artist-turned-architect, Peder Vilhelm Jensen-Klint, the young Kaare was apprenticed to a furniture maker after leaving school. He then studied at a specialist furniture school in Copenhagen, before working for the architect Carl Petersen. When Petersen won the commission to design the new Faaborg Museum on the Danish island of Funen, Kaare designed his first piece, a chair, especially for the project. As a furniture designer, architect, teacher and curator, he not only played a defining role in modernising the traditional Danish values of utility, economy, restraint, humanism, and respect for nature during the first half of the 20th century, but encouraged and empowered the next generation of Scandinavian designers to do so too. #design#architecture#kaareklint#pedervilhelmjensenklint#carlpetersen @faaborgmuseum #danishmodernism#scandinavianmodernism#nordicmodernism
Yesterday we braved the rain and made a pilgrimage to St Catherine's College, Oxford - Arne Jacobsen's modernist masterpiece. The college was officially opened in 1962 and received Grade1 listing in 1993. Jacobsen designed everything inside the buildings from the furniture, clocks, lighting down to the cutlery used in the dining hall. The gardens were also designed by Jacobsen as he was a keen nature enthusiast. Despite the weather the buildings and gardens created a harmonious and peaceful atmosphere. The functionalist architecture with its perfect right angles throughout is enhanced by the meticulously chosen vegetation. It was a wonderful way to spend a rainy afternoon! #arnejacobsen#stcatherinescollegeoxford#stcatz#functionalism#danishmodernism#1962#barbarahepworth#oxford#modernisttouristsvisit#modernism