Pair of Danish armchairs from the 1930s in the style of Kaare Klint

A traditional pine cupboard from the 1930s. Crafted with meticulous care and attention to detail, this cupboard features classic mortise-and-tenon joints, a testament to the craftsma...

A pair of Mid-Century Modern nightstands or sidetables with a spacious storage unit. Beautiful patinated from 1930s.

Solid and stylish oak armchair from the 1960s designed by Børge Mogensen for Fredericia Stolefabrik. Clean open profile with a solid oak frame. A Classic example of Mogensen's design...

Striking example of Danish modernism, this authentic pair of cantilever armchairs by Knud Friis & Elmar Moltke Nielsen from the 1970s boasts a bold visual identity. The vibrant red t...

Kaare Klint armchair designed in 1927 and produced by Rud Rasmussen.

Kaare Klint armchair designed in 1927 and produced by Rud Rasmussen.

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...

Kaare Klint pair of red chairs in mahogany, black horsehair and brass nails. Version of the chair with upholstered arms. Executed by Rud. Rasmussen,...