Borge Mogensen Spindle Back Teak and Beech Armchair

Among the great mid-20th century Danish furniture designers, Børge Mogensen distinguished himself with his faith to traditional values of craftsmanship and honesty of materials.

While peers such as Hans Wegner, Finn Juhl and Arne Jacobsen designed some of the most striking and now iconic furnishings of the era, Mogensen focused on making chairs, sofas and other pieces that were simple, durable and comfortable — and in the long run perhaps more useful and better loved.

Mogensen studied under and later worked for Kaare Klint, a master cabinetmaker whose chief tenets were quality of construction and simplicity of line. Klint was a classicist, who believed that furniture forms should evolve from those of historical models. So, too, in his way was Mogensen, as two of his best-known earlier pieces attest.

His 1945 Spokeback sofa, with hinged arms that can be lowered to facilitate lounging, is a reinterpretation of the venerable Knole settee. With the oval silhouette of its plywood backrest and waterdrop-shaped cutouts, Mogensen’s Shell chair, designed in 1949, can be seen as a novel take on early 19th-century Empire side chairs.

Yet Mogensen shared the aesthetical sensibilities of his most forward-looking colleagues. His cabinets deploy the same spare geometries and lushly figured woods as those of Ludwig Mies van der Rohe and his disciple Florence Knoll, the chief difference being that Mies and Knoll used chrome steel for the frames and legs of their pieces. The brawny oak frames and slung leather seats and backrests of Mogensen’s Hunting chair (1950) and Spanish chair (1958) display the same hefty construction and appreciation of natural materials seen in the work of Charlotte Perriand and Sergio Rodrigues.

Mogensen designed for function more than sculptural effect. While his chairs may not be the first pieces in a décor to draw the eye, they are often the first to draw in those looking for a comfortable seat.

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The giant of mid-century furniture design France & Søn began its remarkable journey as a Danish firm specializing in the production and exporting of Scandinavian design called France & Daverkosen.

British businessman Charles William Fearnley France and Danish cabinetmaker Eric Daverkosen entered into a joint venture in 1936 — France being the investor and Daverkosen the head designer for their small mattress factory. Soon after production started at the France & Daverkosen company, Daverkosen became quite ill.

Concerned for his friend and their fledgling business, France traveled to Denmark, and Daverkosen died soon after his partner arrived. While France was attempting to make arrangements to transfer the company into his hands, World War II erupted, and Germany invaded Denmark. As a British citizen, France was captured and sent to a prison camp in Germany.

While in captivity, France developed several manufacturing ideas to pass the time and to keep his mind focused. He imagined a way to create lightweight wooden chairs that could be manufactured on an industrial scale and transported using an economic flat-pack format. He also thought of a way to retool his mattress factory to create chair backs, seats and sofa cushions. 

Once freed, France returned to his business in Denmark and began to manufacture beech and teak goods that were gaining widespread acclaim around the world. He began to surround himself with some of the best Scandinavian designers of the time: Finn Juhl, Grete Jalk and Ole Wanscher, to name a few.

By 1954, France & Daverkosen accounted for 60 percent of all Danish furniture exports and their factory employed 350 people. Charles’s son James joined the company in 1957, which resulted in the name change to France & Søn.

Later, France & Søn was acquired by Danish designer Poul Cadovius, who folded it into the operations at CADO, a company he founded during the 1950s. 

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