Aksel Bender Madsen Bovenkamp Wingback Lounge Chair, 1960s
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Aksel Bender Madsen Bovenkamp Wingback Lounge Chair, 1960s
About the Item
- Creator:Aksel Bender Madsen (Designer),Pastoe (Manufacturer)
- Dimensions:Height: 33.47 in (85 cm)Width: 26.38 in (67 cm)Depth: 29.53 in (75 cm)Seat Height: 14.97 in (38 cm)
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1960
- Condition:Wear consistent with age and use.
- Seller Location:Beek en Donk, NL
- Reference Number:Seller: F31671stDibs: LU189434408273
Aksel Bender Madsen
Aksel Bender Madsen created a number of classic mid century designs in the late 1940s, 1950s and 1960s, often working jointly with his business partner and friend Ejner Larsen (1917–87). Bender Madsen trained as a cabinetmaker before spending four years studying at the Royal Danish Academy of Fine Arts, graduating in 1940. It was there that he met his lifelong friend Larsen, with whom he would work throughout his career. They designed over 300 pieces of furniture together until Larsen’s death in 1987, often working with cabinetmaker Willy Beck, who produced their designs over a 25-year period. Larsen and Bender Madsen participated annually in the Copenhagen Cabinetmakers’ Guild competitions from 1947, and their work was exhibited at the Triennale di Milano and in the Design in Scandinavia exhibition, which traveled across the US. from 1954 to 1957. Larsen and Bender Madsen’s most famous design, namely the Metropolitan Chair, was developed in 1949 and produced from 1950; its name came from New York’s Metropolitan Museum of Art, where it was shown and acquired for the Arts of Denmark exhibition in 1960–61. Before he began working with Larsen, Bender Madsen worked for Danish icons Kaare Klint and Arne Jacobsen from 1940 to 1943. While designing furniture, he also worked simultaneously as an architect for the Danish Consumers Cooperative Society (1943–50) and as a teacher and principal at the Royal Danish Academy of Fine Arts (1950–54). Bender Madsen was committed to building the Danish design identity and exporting Scandinavian style. He introduced a clear Danish aesthetic to the Dutch brand Bovenkamp in the 1950s and 1960s, who also worked with Arne Vodder. Bender Madsen designs for Bovenkamp feature many models of easy chairs and armchairs, including the low-backed Edith and the high-backed Karen (circa 1950). Together Bender Madsen and Larsen received many awards, including winning the prestigious Copenhagen Cabinetmakers’ Guild Annual Prize in 1956 and 1961. Their furniture is housed in museums around the world, including the aforementioned Met Museum and the Louisiana Museum of Modern Art in Humlebæk, Denmark.
Pastoe
Dutch furniture company UMS Pastoe was established in 1913 by German-Jewish entrepreneur Frits Loeb and became rapidly successful largely owing to its reputation for well-made tables and chairs. Today, however, the brand is best known by collectors for the modular sideboards, storage cabinets and other spare, streamlined case pieces that it produced during the postwar years.
Influential mid-century modernist designer Cees Braakman had been creating furniture since his teenage years when he was promoted to head of design at Pastoe in 1948. The Utrecht-born designer took over for his father, Dirk Braakman, who had by then been managing the company for more than 20 years and had designed a variety of furnishings for the manufacturer by himself. A year before he assumed his new role at Pastoe, Cees visited the United States where he became enamored with the designs of Charles and Ray Eames and the other creative minds associated with legendary American furniture manufacturer Herman Miller.
While many Dutch designers who are now celebrated by vintage furniture collectors — names like Gerrit Rietveld and Friso Kramer are in this list — found inspiration in Piet Mondrian and the country’s De Stijl art movement, they also looked to Scandinavian modernists such as Alvar Aalto and Americans such as the Eameses. Cees Braakman was no different.
Braakman’s 1940s-era tour to the States included a visit to the Herman Miller factory in Zeeland, Michigan. At the time, architect-designer-journalist George Nelson was director of design at the firm and had enlisted a range of designers to collaborate with Herman Miller and create what are now icons of mid-century modernism. Braakman took notice of industrial manufacturing techniques at HM and in particular, the company’s innovations in furniture design owing to experimentation with molded plywood and fiberglass-reinforced plastic.
The Dutch designer introduced the first line of modern furniture at UMS Pastoe thereafter — a table, a chair, a bed and more created in molded plywood and featuring oak veneers, specifically tailored for smaller living spaces. Braakman was convinced that Pastoe should move on from the restrictions that a collection or set of furniture presented to consumers. Furniture for a bedroom, for example, should be practical and built as individual pieces that could be adapted as more space became available. New production methods and creative marketing came into focus under Braakman’s leadership, and his own lines of oak and birch furniture — which were created around cupboards that could be reconfigured as needed, or armchairs that could be combined to form a sofa — earned acclaim and were commercially very successful.
UMS Pastoe was recognized for its innovative furniture at the Milan Triennial in 1957 and Le Signe d’Or in Belgium, and Cees Braakman’s work can today be found at the Stedelijk Museum in Amsterdam. Over the years, designers such as Jan van Grunsven, Radboud Van Beekum and Rob Eckhardt collaborated with UMS Pastoe.
Find vintage UMS Pastoe furniture on 1stDibs.
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