"Timeless Danish Armchair: Walnut & Leather Elegance for Stylish Comfort."

Danish armchair in patinated leather and wenge. Designed and made in Denmark, great original condition.

Armchair in rosewood and patinated leather designed by Ole Wanschar M.A.A. for A.J.Iversen in 1950s. Made in Denmark. Great condition.

Pair of chairs in oak and patinated leather, designed and made by Fritz Hansen cabinetmakers in 1940s. Great condition.

Armchair in fabric with brass details. Designed and made in Sweden 1950s.

Fine pair of George III mahogany armchairs, the oval backs with fluted surrounds, the arms with scroll carved florish over shaped ...

Desk chair, Danish design, 1960s Very good condition. After renovation and replacement of the upholstery with new leather. Wood: teak Dimensions: height 81 cm, seat height 4...

A 18th century Louis XV walnut armchair with 19th century leather upholstery. This chair has the typical Rococo design of the Louis XV era. A period when designers where inspired by ...

Armchair model 3758 A in original red indian leather and mahogany base. Model designed in 1927 for the Danish Museum of Decorative Art, produced by Rud Rasmussen in the 1940’s. 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: Kaare Klint, Harkær, pg. 28-30. Dansk Møbelkunst Gennem 40 Aar: 1927-1936, Jalk, pg. 169. Danish Chairs, Oda, pg. 22-23. 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...