Along with Hans Wegner, Arne Jacobsen and Børge Mogensen, Finn Juhl was one of the great masters of mid-20th-century Danish design. Juhl was the first among that group to have his work promoted overseas, bringing the character of the nation’s furnishings — and the inherent principles of grace, craftsmanship and utility on which they were based — to an international audience.
A stylistic maverick, Juhl embraced expressive, free-flowing shapes in chair, credenzas and sofa designs much earlier than his colleagues, yet even his quietest pieces incorporate supple, curving forms that are at once elegant and ergonomic.
As a young man, Juhl hoped to become an art historian, but his father steered him into a more practical course of study in architecture. He began designing furniture in the late 1930s, a discipline in which, despite his education, Juhl was self-taught, and quite proud of the fact.
Juhl’s earliest works, designed in the late 1930s, are perhaps his most idiosyncratic. The influence of modern art is clear in his 1939 Pelican chair: an almost Surrealist take on the classic wing chair. Critics reviled the piece, however; one said it looked like a "tired walrus." Juhl had tempered his creativity by 1945, when the workshop of Danish cabinetmaker Niels Vodder began to issue his designs. Yet Juhl’s now-classic NV 45 armchair still demonstrates panache, with a seat that floats above the chair’s teak frame.
Juhl first exhibited his work in the United States in 1950, championed by Edgar Kaufmann Jr., an influential design critic and scion of America’s most prominent family of modern architecture and design patrons. (Kaufmann’s father commissioned Frank Lloyd Wright’s design of the house “Fallingwater.”)
Juhl quickly won a following for such signature designs as the supremely comfortable Chieftan lounge chair, the Judas table — a piece ornamented with stylish inlaid silver plaquettes — and the biomorphic Baker sofa. After an article authored by Kaufmann on Juhl and his work appeared in the U.S.-based magazine Interiors in 1948, he began receiving American commissions.
Kaufmann commissioned Juhl to create the exhibition design for, and contribute pieces to, the 1951 edition of the Good Design shows he organized for MoMA and Chicago’s Merchandise Mart. Baker Furniture asked Juhl to design for the firm, and he produced a collection of chairs, tables and cabinets, and, later, the 1957 sofa.
Scandinavian modernist seating, such as the chairs and sofas Juhl created for Baker, became immensely popular in postwar America, as the seeds of the Scandinavian style that Juhl sowed took root and spread in the United States. Juhl and his work featured prominently in the landmark show “Design from Scandinavia,” which opened in 1954 at the Virginia Museum of Fine Arts and traveled to 24 museums in the U.S. and Canada; over three years, it was seen by more than a million people.
Juhl’s furniture — as well as his ceramics, tableware and accessories — has an air of relaxed sophistication and elegance that is unique in the realm of mid-century design.
Find vintage Finn Juhl armchairs, coffee tables, desks and other furniture for sale on 1stDibs.
Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.
ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN
CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN
MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW
ICONIC MID-CENTURY MODERN FURNITURE DESIGNS
VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS
The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.
Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively.
Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer.
Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.
The Risom lounge chair was among the first pieces of furniture commissioned and produced by celebrated manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.
As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.
Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.
Generations turn over, and mid-century modern remains arguably the most popular style going. As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.
While this specific seating is known to all for its comfort and familiar form, the history of how your favorite antique or vintage lounge chair came to be is slightly more ambiguous.
Although there are rare armchairs dating back as far as the 17th century, some believe that the origins of the first official “lounge chair” are tied to Hungarian modernist designer-architect Marcel Breuer. Sure, Breuer wasn’t exactly reinventing the wheel when he introduced the Wassily lounge chair in 1925, but his seat was indeed revolutionary for its integration of bent tubular steel.
Officially, a lounge chair is simply defined as a “comfortable armchair,” which allows for the shape and material of the furnishings to be extremely diverse. Whether or not chaise longues make the cut for this category is a matter of frequent debate.
The Eames lounge chair, on the other hand, has come to define somewhat of a universal perception of what a lounge chair can be. Introduced in 1956, the Eames lounger (and its partner in cozy, the ottoman) quickly became staples in television shows, prestigious office buildings and sumptuous living rooms. Venerable American mid-century modern designers Charles and Ray Eames intended for it to be the peak of luxury, which they knew meant taking furniture to the next level of style and comfort. Their chair inspired many modern interpretations of the lounge — as well as numerous copies.
On 1stDibs, find a broad range of unique lounge chairs that includes everything from antique Victorian-era seating to vintage mid-century modern lounge chairs by craftspersons such as Hans Wegner to contemporary choices from today’s innovative designers.
