Set of Six Folding Chairs, Model J102, Designed by Ditte & Adrian Heath for FDB

- New grey fabric seat and backrest - The item was carefully refurbished.

This pair of armchairs from the “Series 186” is also known as the “Lufthavns-stole” (Airport chairs). The model was designed in 1969 for Cado Collection. The aluminium frame is without a doubt the most dominant feature of these chairs. The sturdy frame is injection-moulded and polished to resist tear and wear. The overall look, with the exposed bolts and material recalls the modern industrial style. This is softened by the padded seats and backs that are upholstered in black leather, completing the elegant, modern look. Functionality was evidently in the focus when designing the “186” series, which comprises of seven different parts that can be used in different combinations. The variety of modules enables them to fit into any space. These “Airport Chairs” are often claimed to be made by France & Son, however, in 1966 the company was sold to Poul Cadovius, thereafter known as Cado. Condition: In good vintage condition. Wear consistent with age and use. Reupholstered with black leather. Each of our items can be re-upholstered by our in-house atelier in a fabric of choice. Dimensions: 25.39 in W x 30.90 in D x 29.72 in H; Seat Height 15.35 in 64,5 cm W x 78,5 cm D x 75,5 cm H ; Seat height 39 cm About the designer: Adrian Heath (1923-) is an architect who studied at The School of Architecture in London (1951) and was subsequently employed by Hvidt & Molgaard. Ditte...

Four midcentury cantilevered side chairs, or dining chairs, designed by female architect Ditte Heath along with her husband Adrian. In original wheat-color cotton-synthetic blend canvas, with olive green and navy stripes over oak cantilevered...

Dining Room Chairs (Model 594) desinged by Ditte & Adrian Heath for France & Søn, Denmark 1970s. The chairs are made of solid Ash wood and are in good vintage condition with minor we...

Set of four side dining chairs designed by Folke Palsson for FDB Mobler, Denmark, circa 1960s. Often referred to as the "Pi" chair or its similarity to the mathematical symbol.

Mogens Koch pair of folding chairs in oak and leather. Executed by Rud. Rasmussen, Copenhagen, Denmark.

The designs of Borge Mogensen aimed at functionality, minimalist appearance and easy accessibility. This pair of slatback chairs is perhaps one of the best examples of these principles of the Danish master with a rustic yet modern design. The most attention-grabbing visual element of this rare model is the backrest with eight wooden spindles that create an airy look that recalls the traditional slatback chair style. The curved top rails have a sculptural look mimicked by the armrests that are also supported by individual slats. This creates a unified appearance that highlights the diverse shapes and the natural beauty of the beech wood and its versatile grain. Interesting details are to be found everywhere in the design, including the perfectly fitted seat cushions and the uniquely arranged stretchers connecting the legs. As the lower structure with the legs and stretchers combine straight lines with round shapes, the design gains a sculptural look that is appealing from all angles. The structure displays a beautiful contrast between the smooth beech frame and the elegant and textured bouclé fabric of the cushions. The chair’s manufacturer, FDB Møbler is a Danish furniture company established in 1942, and Børge Mogensen served as the design studio’s manager. Mogensen and the designers he employed came from the Copenhagen Cabinetmaker's Guild tradition and were unwilling to prioritize anything over craftsmanship and quality. Extremely modest and confident at the same time is how these chairs can be best described. Mogensen preferred to work with traditional and natural materials, but also liked to experiment with new techniques; the resulting models are Danish Modern classics. Condition: In good vintage condition. The chairs’ cushions have been reupholstered recently in a premium bouclé fabric. Each of our items can be re-upholstered by our in-house atelier in a fabric of choice. Please reach out for more information. Dimensions: 23.42 in W x 24.4 in D x 32.48 in H; Seat height 18.11 in; Arm height 25.39 in 59.5 cm W x 62 cm D x 82.5 cm H; Seat height 46 cm; Arm height 64.5 cm About the designer: Borge Mogensen is without a doubt one of the most famous Danish designers. Born in 1914 in Aalborg, Mogensen was trained as a cabinetmaker and studied at the Danish School of Arts and Crafts in Copenhagen from 1936 to 1938, and architecture at the Royal Danish Academy of Fine Arts’ School of Architecture between 1938 and 1942. At the beginning of his career, he became head of F.D.B. Mobler’s furniture design studio. In 1950, he started his own design studio, collaborating with manufacturers Soborg, the Swedish company Karl Andersson and the famous manufacturer Fredericia from 1955. The collaboration with the latter resulted in many of Mogensen’s most famous furniture pieces, including the “Spanish Chair” and the “Ambassador Sofa...

This pair of "Model 849" armchairs was designed by Gianfranco Frattini in the 1950s and manufactured by the Italian company Cassina. The pieces consist of up...

Set of 25 button plugs for Erik Buch model 50 teak armchairs and other chairs with similar plug holes. The button plugs have the original dimension...

Set of six chairs designed by Josef Frank for Svensk Tenn, Model 725. Sweden. 1938. Mahogany and original leather. Literature: Kristina Wängberg Eriksson, Jan Christer Eriksson, "Josef Frank Möbelformgivaren", Carlsson Bokförlag, Stockholm 2014, p. K 18 H: 90 cm W: 58 cm D: 63 cm SH: 43 cm Armrest height: 69 cm (at the highest point) Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best...