Goatskin Office Chairs and Desk Chairs
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Material: Goatskin
Kaare Klint Red Chair, Rud. Rasmussen, 1930s
Located in Copenhagen, DK
Kaare Klint 'Red Chair' in Cuban mahogany, Niger leather and brass nails. Executed by Rud. Rasmussen 1936-1940.
Underside with manufacturer's paper label RUD. RASMUSSENS/SNEDKERIER/...
Category
1930s Danish Scandinavian Modern Vintage Goatskin Office Chairs and Desk Chairs
Materials
Brass
Jonathan Trayte, "Moloko", 2018, Whitechapel, Collectible Design
Located in Antwerp, BE
Functional Art; Contemporary Art; Jonathan Trayte; Moloko; 2018; Collectible design;
Functional art "Moloko" armchair designed by London-based artist Jonathan Trayte. This piece ...
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2010s English Hollywood Regency Goatskin Office Chairs and Desk Chairs
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Kaare Klint Red Chair for Rud, Rasmussen
Located in Copenhagen, DK
Kaare Klint 'Red Chair' in Cuban mahogany, Niger leather and brass nails. Executed by Rud. Rasmussen.
Underside with manufacturer's paper label RUD. RASMUSSENS/SNEDKERIER/45 NØRRE...
Category
Mid-20th Century Danish Scandinavian Modern Goatskin Office Chairs and Desk Chairs
Materials
Brass
Art Deco Desk and Chair, Parchment Top, Vittorio Valabrega, Italy, 1930's
Located in Austin, TX
Double pedestal desk with goatskin parchment top and trim and matching desk. Designed by Vittorio Valabrega, a hard to find Art Deco designer, Italy, 1930's. ...
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1930s Italian Art Deco Vintage Goatskin Office Chairs and Desk Chairs
Materials
Goatskin
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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.
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