Arctander Clam Chair in Sheepskin by Philip Arctander, Denmark, 1944

Arctander clam chair; Sheepskin; Philip Arctander; Denmark; 1944; Danish Design; Muslingestol; Scandinavian Design; The Arctander clam chair, also known as the “Muslingestol”, is easily recognizable by its rounded arms, club-shaped legs, and curved, slightly tilted backrest upholstered in the finest sheepskin material. Both craftsmanship and quality are key in this design. Philip Arctander’s whimsical Clam Chair exudes coziness and comfort. It is a piece that would be a remarkable addition to any living space in need of an elegant touch. Danish architect Arctander is mostly known for his directorship at the Danish Building institute and his UN advisory role for affordable housing. His contribution of the now iconic Clam Chair to NY FORM...

ILVA Design Lounge Chair Model Cuba, with a chromed metal frame and black leather upholstery. Model Cuba was inspired by the "Timeless Chair", an original design by Italian architect...

Unusual and one-of-a-kind Throne chair, Sandro Lorenzini, Italy 1980s Solid wooden panels with ceramic stars and moon inserts. Copper side panels. A fantastic piece made in Italy ...

Collectible Design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 The chair made with scrap metal laser cuts and a prototype element of one of Lionel’s coffee table, the legs are made with the pantograph of a drawing table from the 30s, hung on an inked piece of Japanese wood from the 19th piece of furniture. Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair...

Postmodern piece, reminiscent of a closed chaise longue, with its sleek design. The subtle translucency of the plastic wire imparts an elegant nude color effect, evoking the image of...

Elephant Chair; Fauteil Éléphant; Bernard Rancillac; Limited Edition; 37/100; 1985; 1980s; Bedside Chair; Side Chair; Lobby Lounge Chair; Reading Ch...

The Arctander chair, affectionately known as the (the Clam Chair), designed by Philip Arctander and upholstered with luxurious sheepskin. This lounge chair is renowned for its high q...

"Muslingestolen", aka "the clam chair" lounge chair designed in 1944 by Danish architect Philip Arctander. The chair was first produced in Denmark by Nordisk Staal & Mobel Centra...

Measures 34" tall, 32" deep and 23" wide. The seat height slopes from 13.5 to 16". A unique low profile chair produced, circa 1940 and bears a striking resemblance to a singular scoop lounge chair Philip Arctander did for a client in the 1940s. Beautiful modernist lines with subtle sculpting make this an uncommon chair...

This “Clam” chair has a beloved design thanks to which it is considered by some as one of the most attractive chairs of “Nordic Design”. The model has a rather perplexing history, and has been attributed to several designers before, the latest being the Danish architect Phillip Arctander. However, recent research revealed that the “Clam” is the model that in fact started the story of Madsen & Schubell. Arnold Madsen designed the chair in 1944 in his small basement workshop in Gothersgade, Copenhagen. This chair has a characteristic organic shape with soft curves, perched on club-shaped beech legs. The name comes from the shape of the seat and back that together form the silhouette of an open clam. The round armrests compliment the overall round feel of the chair. The seat is slightly raised towards the front, while the back is tilted back to provide great sitting comfort. The seat and back are covered in cream-white sheepskin, adding to the soft and cosy feel of this “Clam”. In 1944, the chair was already exhibited in conjunction with the presentation of the newly opened furniture store NY FORM A/S in Copenhagen, which sold leading design of the day. In 1953, Madsen & Schubell sold the licence for the chair to the Norwegian company Vik and Blindheim.

Side chair in rosewood, designed by Helge Sibast and made by Sibast cabinetmakers. Great original condition.

Classic architectural side chair from the Golden Age of Danish Modern furniture design. This example is in very good, original condition, show...