Paere Dansk Ltd Settees

A superb and rarely seen sofa. As comfortable as it looks. Made in Italy the sofa nods to Brazilian mid century design. The wooden frame is in original...

Kaare Klint freestanding two-seat sofa on six-legged, profiled mahogany cross-frame. Sides, seat and back upholstered with patinated leather. Executed by Rud. Rasmussen, Copenhagen. ...

Peter Hvidt solid teak sofa new blue wool upholstery original springs mint! Professionally reupholsted with original springs intact.

Kaare Klint freestanding three-seat sofa on eight-legged, profiled mahogany cross-frame. Sides, seat and back upholstered with patinated red leather. Model 4118. Executed by Rud. Ras...

Kaare Klint. A three-seat sofa with mahogany legs, seat, sides and back with blue-, red- and whitestriped Greek Savak. Executed by Rud. Rasmussen, Copenhagen.

Two-seater sofa model 5011 in original cognac leather and six-legged mahogany base. Produced by Rud. Rasmussen Cabinetmakers, Denmark. Minor marks on the frame, patina to the leather. Back covered in original canvas. Shown at the Copenhagen Cabinetmakers’ Guild exhibition in 1935. Signed with manufacturer’s label to underside: (Rud. Rasmussens Snedkerier). Kaare Klint is widely recognized as the father of Danish modern design. It is hard to overstate his influence. He developed an entirely new analytical approach to furniture design that his students at the Danish Academy of Art would emulate for years to come, yet was also inspired by historic designs from various cultures, modernizing and re-interpreting classic pieces for new generations. Literature: Gorm Harkær, Klintiana: “Kaare Klint”, vol.2, pg 94. Kaare Klint (1888-1954) is regarded as the founding father of Danish Modernim. As an architect, furniture designer and leading professor at the Department of Furniture Design at the Royal Danish Academy of Fine Arts, Copenhagen, Klint established the principles of modern Danish furniture by combining a profound appreciation of traditional construction techniques with a modernist emphasis on function and a rejection of ornaments. Klint’s design was always based on relentless research; he never compromised. Every piece had to fulfill its purpose, be completely clear in its construction with dimensions and proportions corresponding to the human body and display materials and craftsmanship of the highest quality. Logic, often using a mathematical system of measures, and a constructive way of thinking were the foundation of Klint’s philosophy of furniture design. Like many of his contemporaries, counting Le Corbusier and Walter Gropius, he advocated standardization and functional requirements and dismissed the use of all ornamentation. But Klint realized his vision in wood and leather, using traditional craftsmen and working methods and often finding inspiration in historical models. In this way, he charted the course for an alternative Nordic Functionalism that idealized the workshop and the collaboration between furniture architects and cabinetmakers as opposed to the factory. Kaare Klint’s first major work was a collaboration with his mentor, the architect Carl Petersen. In 1914 they were commissioned to design furniture and fixtures for Faaborg Art Museum. One of the highlights to emerge from this commission was the Faaborg chair, a light and elegant chair with clear references to classical furniture. The construction and proportions of an 18th century English Chippendale chair was also clearly visible in the famous Red Chair, designed in 1927 for the lecture hall at The Museum of Arts and Crafts (now Design Museum Denmark), but with its straight back deprived of all unnecessary decoration and its beautiful Niger leather, the Red Chair was far from an imitation. Other important works include The Propeller Stool (1927), The ‘Mix Chair’ designed in collaboration with his pupil Edvard Kindt-Larsen in 1930, the Safari Chair (1930), The Deck Chair (1939 and The Church Chair designed in 1936 for the Bethlehem Church in Copenhagen. Also noteworthy are Klint’s well-proportioned cabinets and wardrobes...

The perfect Finn Juhl settee manufactured by Bovirke in 1946. Reupholstered with new Hallingdal fabric. Iconic Danish design in perfect restored condition.

Kaare Klint sofa model 4118 for Rud.Rasmussen  in cognac leather and mahogany, Designed in Denmark circa 1930's. Kaare Klint originally designed this three-seat sofa, # 4118, for th...

Three-seater sofa model 5011 in original leather and eight-legged ash base. Produced by Rud. Rasmussen Cabinetmakers, Denmark. Minor marks on the frame, patina to the leather. Shown at the Copenhagen Cabinetmakers’ Guild exhibition in 1935. Kaare Klint is widely recognized as the father of Danish modern design. It is hard to overstate his influence. He developed an entirely new analytical approach to furniture design that his students at the Danish Academy of Art would emulate for years to come, yet was also inspired by historic designs from various cultures, modernizing and re-interpreting classic pieces for new generations. Literature: Gorm Harkær, Klintiana: “Kaare Klint”, vol.2, pg 94. Kaare Klint (1888-1954) is regarded as the founding father of Danish Modernim. As an architect, furniture designer and leading professor at the Department of Furniture Design at the Royal Danish Academy of Fine Arts, Copenhagen, Klint established the principles of modern Danish furniture by combining a profound appreciation of traditional construction techniques with a modernist emphasis on function and a rejection of ornaments. Klint’s design was always based on relentless research; he never compromised. Every piece had to fulfill its purpose, be completely clear in its construction with dimensions and proportions corresponding to the human body and display materials and craftsmanship of the highest quality. Logic, often using a mathematical system of measures, and a constructive way of thinking were the foundation of Klint’s philosophy of furniture design. Like many of his contemporaries, counting Le Corbusier and Walter Gropius, he advocated standardization and functional requirements and dismissed the use of all ornamentation. But Klint realized his vision in wood and leather, using traditional craftsmen and working methods and often finding inspiration in historical models. In this way, he charted the course for an alternative Nordic Functionalism that idealized the workshop and the collaboration between furniture architects and cabinetmakers as opposed to the factory. Kaare Klint’s first major work was a collaboration with his mentor, the architect Carl Petersen. In 1914 they were commissioned to design furniture and fixtures for Faaborg Art Museum. One of the highlights to emerge from this commission was the Faaborg chair, a light and elegant chair with clear references to classical furniture. The construction and proportions of an 18th century English Chippendale...

Rare and stunning Scandinavian Modern sofa settee attributed to Philip Arctander and made in the 1940s by a Swedish Cabinetmaker. It is made from solid Scandinavian pinewood...

An elegant Empire Swedish Karl Johan sofa with graceful lines in mahogany with satinwood line inlay, ormolu and ebonized details. Offers scrolled arms and saber feet with upholstered...

Sofa, oak, fabric, Czech Republic, 1960s A comfortable and bulky three seat sofa with a soft feel. This sofa is made in the Czech Republic in the 1960s. One of the elegant character...