Jo Hammerborg 'Orient' Pendant Lamp for Fritz Hansen in Aluminum and Oak

Johannes (Jo) Hammerborg was a passionate innovator and lighting designer credited with the success of the Danish lighting company Fog & Mørup. His sleek ceiling lights, floor lamps and table lamps are characterized by the simple lines and clean aesthetic of Scandinavian modern design.

Hammerborg was born in Randers, Denmark, in 1920. As a young man, he trained as a silversmith before attending the Royal Danish Academy of Fine Arts. In 1949, Hammerborg began working as a silversmith at leading Danish silverware brand Georg Jensen. He worked at Georg Jensen until 1957, when he became the chief designer at Fog & Mørup.

Hammerborg brought both his modernist designs and his good business sense to Fog & Mørup. He helped the company create a strong brand and implemented a stringent manufacturing process to ensure high quality. During his time with Fog & Mørup, Hammerborg designed over 60 lighting fixtures and collaborated with other designers such as Torsten Thorup and Claus Bonderup, Erik Balslev, Sophus Frandsen and more. Vintage Hammerborg lighting is functional and accessible and was intended for easy coordination with modern interior decor.

Among Hammerborg's most famous works are his 1966 Trombone series. Trombone pendants, floor lamps and table lamps feature cylindrical shades in various metallic finishes and are fantastically versatile. The Milieu pendant from 1975 is another notable Hammerborg design. Its hemispherical shape gives the shade a light and airy quality, and Hammerborg's love of parachuting inspired its distinctive appearance.

Hammerborg left Fog & Mørup in 1980. The company subsequently underwent a series of mergers that eventually led to its closure. 

Hammerborg’s brilliant lighting creations remain in high demand today. The Hammerborg family has collaborated with Danish furniture brand Warm Nordic — which has reissued iconic mid-century works such as Hans Olsen’s inviting Fried Egg armchair — in order to relaunch the Trombone and Milieu series.

On 1stDibs, find an extensive collection of vintage Jo Hammerborg lighting.

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.