Mid-Century Ashtray in Steel by Grete Jalk, 1960s

What would the reputation of mid-century Danish furniture be without legendary female designer Grete Jalk? A pioneer of Scandinavian modernism, Jalk sought to craft furniture that was both cost-efficient and high in quality, each piece made for the evolving interiors and design sensibilities of the day. She continues to be celebrated for her sleek and minimal armchairs, lounge chairs, coffee tables and more.

Jalk was born in 1920 in Copenhagen. She studied at the Drawing and Applied Art School for Women before enrolling at the Royal Danish Academy of Fine Arts, where famed designer Kaare Klint was among her instructors. Jalk completed her studies in 1946 and began a cabinetmaker apprenticeship. That same year, she won an award at the Copenhagen Cabinetmakers’ Guild competition. Jalk also participated in the 1951 Milan Triennial exhibition, where her designs earned more acclaim and attention.

In 1954, Jalk opened her own design studio and began working with major Danish furniture manufacturers like Fritz Hansen and Glostrup Møbelfabrik. She found inspiration in plywood experiments carried out by Alvar Aalto and Ray and Charles Eames, and she quickly became known for her pared-back, expressive designs, which touted fluid forms and were made of alluring woods such as teak and rosewood.

Jalk’s best-known work is the 1963 GJ chair, a collaboration with cabinetmaker Poul Jeppesen that won first place in the Daily Mail International Furniture Competition. Made of two pieces of molded teak plywood, the sculptural GJ lounge chair is part of the collections of the Museum of Modern Art and Metropolitan Museum of Art.

While creating her iconic furniture designs, Jalk wore many other hats. She taught at the Royal Danish Academy of Fine Arts and served as an editor of the Danish design magazine Mobilia from 1956–62 and 1968–74. In 1974, Jalk curated a traveling design exhibition for the Danish Foreign Ministry and was named a member of the Danish Design Council in 1981. She was also the editor of 40 Years of Danish Furniture Design: The Copenhagen Cabinet-makers' Guild Exhibitions 1927–1966, published in 1987.

Jalk passed away in 2006 at the age of 86. In 2008, Danish furniture manufacturer Lange Production was granted exclusive rights to reproduce the GJ chair, a design as fresh and original today as ever.

On 1stDibs, find vintage Grete Jalk seating, tables and storage pieces.

When the Copenhagen-based furniture maker Fritz Hansen opened for business more than 140 years ago, the company — which today styles itself The Republic of Fritz Hansen — adhered to the traditional, time-honored Danish values of craftsmanship in woodworking and joinery. Yet thanks to the postwar innovations of Arne Jacobsen and others, Fritz Hansen would become the country’s leader in Scandinavian modern design using new, forward-looking materials and methods.

Fritz Hansen started his company in 1872, specializing in the manufacture of small furniture parts. In 1915, the firm became the first in Denmark to make chairs using steam-bent wood (a technique most familiar from birch used in the ubiquitous café chairs by Austrian maker Thonet). At the time, Fritz Hansen was best known for seating that featured curved legs and curlicue splats and referenced 18th-century Chippendale designs.

In the next few decades, the company promoted simple, plain chairs with slatted backs and cane or rush seats designed by such proto-modernist masters as Kaare Klint and Søren Hansen. Still, the most aesthetically striking piece Fritz Hansen produced in the first half of the 20th century was arguably the China chair of 1944 by Hans Wegner — and that piece, with its yoke-shaped bentwood back- and armrest, was based on seating manufactured in China during the Ming dynasty. (Wegner was moved by portraits he’d seen of Danish merchants in the Chinese chairs.) 

Everything changed in 1952 with Arne Jacobsen’s Ant chair. The collaboration between the architect and Fritz Hansen officially originated in 1934 — that year, Jacobsen created his inaugural piece for the manufacturer, the solid beechwood Bellevue chair for a restaurant commission. The Ant chair, however, was the breakthrough.

With assistance from his then-apprentice Verner Panton, Jacobsen designed the Ant chair for the cafeteria of a Danish healthcare company called Novo Nordisk. The chair was composed of a seat and backrest formed from a single piece of molded plywood attached, in its original iteration, to three tubular metal legs. Its silhouette suggests the shape of the insect’s body, and the lightweight, stackable chair and its biomorphic form became an international hit.

Jacobsen followed with more plywood successes, such as the Grand Prix chair of 1957. The following year he designed the SAS Royal Hotel in Copenhagen and its furnishings, including the Egg chair and the Swan chair. Those two upholstered pieces, with their lush, organic frames made of fiberglass-reinforced polyurethane, have become the two chairs most emblematic of mid-20th-century cool. Moreover, the Egg and Swan led Fritz Hansen to fully embrace new man-made materials, like foam, plastic and steel wire used to realize the avant-garde creations of later generations of designers with whom the firm collaborated, such as Piet Hein, Jørn Utzon (the architect of the Sydney Opera House) and Verner Panton. If the Fritz Hansen of 1872 would not now recognize his company, today’s connoisseurs certainly do.

Find a collection of vintage Fritz Hansen tables, lounge chairs, sofas and other furniture on 1stDibs.