1950s 'Diplomat' Pair of Chairs Style Finn Juhl for France and Son

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1950s 'Diplomat' Pair of Chairs Style Finn Juhl for France and Son

About the Item

1950s 'Diplomat' Pair of Chairs style Finn Juhl for France and Son Finn Juhl Pair of Chairs 20th century Nórdicos, in Brazilian rosewood from the 1950s, by Finn Juhl (Arch. Nórdico). Dim.: 70 x 71 x 71 cm. good conditions Finn Juhl (30 January 1912 – 17 May 1989) was a Danish architect, industrial and interior designer, best known for his furniture design. He was one of the main figures in the creation of Danish design in the 1940s and was the designer who introduced modern dance to the United States. Biography First years and education Finn Juhl was born on January 30, 1912, the son of an authoritarian priest who was a textile wholesaler and represented several English, Scottish and Swiss textile manufacturers in Denmark, and of a mother who died shortly after his birth. Since I was very young, I wanted to be an art historian, and since I was a teenager I spent a lot of time at the Statens Museum for Kunst y, despite my short age, I received permission to borrow books at the Ny Carlsberg Glyptotek, but my father convinced me that he followed the career of architecture. early career After graduating, Juhl worked for ten years in the architecture studio of Vilhelm Lauritzen, where he had also been an apprentice as a student. In close collaboration with Viggo Boesen, Juhl was responsible for a large part of the interior design of Radiohuset on the national broadcaster Danmarks Radio, one of the most outstanding tasks of the company during these years. Juhl made his debut in 1937, when he started a collaboration with the ebanista Niels Vodder that would last until 1959 and that I exhibited at the eleventh Exposición del Gremio de Ebanistas de Copenhagen. Therefore, his first works were originally produced in small corners, eight at the most, because the exhibitions of the Guild highlighted the work of the artisan above the flourishing industry of mass production. However, almost all of them were reissued later in his career.3 He married Inge-Marie Skaarups on July 15, 1937 but they were divorced. The Exposiciones del Gremio were an important stage for the young designers who intended to renew the Danish design, giving the back to the traditional historicist styles, heavy and with adornments and plush, and creating in their place modern furniture that adjusted to the new trends of the architecture. The projects were very controversial and Juhl's first works received much criticism. His Pelican silla, designed in 1939 and produced for the first time in 1940, was described as a "tired walrus" and "aesthetics in the worst possible sense of the word". to influence the style of foreign houses throughout the 1940s. In Denmark, however, its popularity did not reach that of its companions, Børge Mogensen and Hans Wegner, who were less radical in their designs and they supported more in Kaare Klint, leader of the furniture school of the Academy. In 1942, Juhl designed a house for himself, now known as Finn Juhl's House, and had it built with money he inherited from his father. Over the years, he increasingly furnished himself with creations of his own design. Finn Juhl furniture at the Danish Design Museum In 1945 he left Vilhelm Lauritzen Architects and created his own design studio, in Nyhavn, Copenhagen, specializing in interior design and furniture. However, his work in furniture design began earlier. Furthermore, in 1945 he became a professor at the Danmarks Designskole, where he would continue to teach until 1955. international success In 1948, Edgar Kaufmann Jr., head of the Department of Industrial Design at the Museum of Modern Art in New York, toured Scandinavia. He intentionally did not visit only the great Scandinavian exhibitions, but being impressed by Juhl's work he featured it in a comprehensive article in Interiors magazine. In 1951 he participated in the Good Design exhibition in Chicago. In connection with the exhibition, he was quoted in Interiors for stating that "You can't create happiness with pretty things, but you can spoil a lot of happiness with bad ones." The work he produced for them, 24 pieces including chairs, tables, storage units, sideboards and desks, represented his first successful marriage of modern mass production with his traditionally high level of craftsmanship. In 1950, the Baker Furniture Company of Grand Rapids, Michigan, contacted Juhl to produce his designs in their factory in the United States. At first Juhl was skeptical of American crafts, but after visiting Grand Rapids he agreed to the deal. Baker Furniture marketed Juhl's furniture under the "Baker Modern" line. UN Trusteeship Council Chamber In 1951-52 – he designed the Trusteeship Council Chamber at the United Nations headquarters in New York City. The Government of Denmark contributed approximately 20,000 dollars for its construction. At the Milan Triennale in the 1950s he won a total of five gold medals, which added to his international reputation. During this decade he continued to design more specifically for the mass market than in the 1940s. Since 1961 he had lived in a common-law relationship with Hanne Wilhelm Hansen, a member of the family of the music publishing company Edition Wilhelm Hansen. In his career, Juhl also designed refrigerators for General Electric, glassware, ceramics, and was the interior designer for the United Nations Trusteeship Council Chamber in New York City. In 1965 he was a visiting professor at the Chicago Institute of Design. En las décadas de 1960 y 1970 experimentó un declive en el interés por sus diseños, pero a fines de la década de 1980 resurgió. Juhl murió el 17 de mayo de 1989 y fue enterrado en el cementerio Assistens de Copenhague. Exposición del centenario del nacimiento de Finn Juhl en el Museo Daelim en 2012 En 2000, Hanne Wilhelm Hansen, socia de Juhl, cedió los derechos de sus diseños a la empresa Onecollection. En 2010, uno de sus sofás, el 57 Sofa, relanzado por Onecollection, ganó el premio Wallpaper Design Award en la categoría de mejor diseño de reedición/sofá.? Onecollection ha cambiado su nombre de marca a "House of Finn Juhl" y la empresa cuenta con una colección de más de 40 piezas relanzadas de los diseños de Juhl. Hanne Wilhelm Hansen creó el Premio Finn Juhl en 2003 para honrar el legado de su compañero. El premio se concede anualmente a los galardonados que han hecho contribuciones significativas en el campo del diseño de muebles. Tras la muerte de Hansen, en mayo de 2003, su casa, que ella había dejado inalterada tras su fallecimiento, se convirtió en una casa-museo histórica, que funciona como parte del Museo de Arte Ordrupgaard, con cuyas instalaciones linda.

Creator:
Finn Juhl (Cabinetmaker)
Dimensions:
Height: 27.56 in (70 cm)Width: 27.96 in (71 cm)Depth: 54.73 in (139 cm)
Sold As:
Set of 2
Style:
Modern (Of the Period)
Materials and Techniques:
Rosewood,Hand-Crafted
Place of Origin:
Denmark
Period:
20th Century
Date of Manufacture:
20th Century
Condition:
Wear consistent with age and use. very good condition.
Seller Location:
Madrid, ES
Reference Number:
1stDibs: LU5779234737522

Shop All Finn Juhl

Finn Juhl

Along with Hans Wegner, Arne Jacobsen and Børge Mogensen, Finn Juhl was one of the great masters of mid-20th-century Danish design. Juhl was the first among that group to have his work promoted overseas, bringing the character of the nation’s furnishings — and the inherent principles of grace, craftsmanship and utility on which they were based — to an international audience. A stylistic maverick, Juhl embraced expressive, free-flowing shapes in chair and sofa designs much earlier than his colleagues, yet even his quietest pieces incorporate supple, curving forms that are at once elegant and ergonomic.

As a young man, Juhl hoped to become an art historian, but his father steered him into a more practical course of study in architecture. He began designing furniture in the late 1930s, a discipline in which, despite his education, Juhl was self-taught, and quite proud of the fact. His earliest works, designed in the late 1930s, are perhaps his most idiosyncratic. The influence of contemporary art is clear in Juhl's 1939 Pelican chair: an almost Surrealist take on the classic wing chair. Critics reviled the piece, however; one said it looked like a "tired walrus." Juhl had tempered his creativity by 1945, when the Danish furniture-making firm Niels Vodder began to issue his designs. Yet his now-classic NV 45 armchair still demonstrates panache, with a seat that floats above the chair’s teak frame.

Juhl first exhibited his work in the United States in 1950, championed by Edgar Kaufmann Jr., an influential design critic and scion of America’s most prominent family of modern architecture and design patrons. (Kaufmann’s father commissioned Frank Lloyd Wright’s design of the house “Fallingwater.”) Juhl quickly won a following for such signature designs as the supremely comfortable Chieftan lounge chair, the biomorphic Baker sofa, and the Judas table, a piece ornamented with stylish inlaid silver plaquettes.

As you will see from the offerings on 1stDibs, Finn Juhl’s furniture — as well as his lighting, ceramics, tableware and accessories — has an air of relaxed sophistication and elegance that is unique in the realm of mid-20th-century design.