Items Similar to Pair of PK 91 Folding Stools by Poul Kjærholm for E. Kold ChristensenView More
Matte, chrome-plated steel, original black leather seats.
Designed in 1961, Kjærholm took inspiration for his folding stool from many places. He found and utilized important early artistic motifs, including the supple curves of Egyptian stools and folding chairs, and also Greek and Roman types. He was also profoundly involved in his own period and the legacy of Modernism in the twenties and thirties, including the contributions of his fellow Danish compatriots, Kaare Klint and Ole Wanscher, who had designed their own iconic folding stools in the 1930s and 1950s. His stool most closely follows Klint’s Propeller Stool, which features wooden elements carved to the shape of an airplane propeller: this allows the legs to nest together to create a complete cylindrical form when the stool is folded. Kjærholm turned to his signature material to mimic a similar form using flat strips of steel.
Noritsugu Oda, Danish Chairs, Japan, 1996, p. 184-5, illustrated.
Christoffer Harlang, Keld Helmer-Petersen, and Krestine Kjærholm, eds, Poul Kjærholm, Vojens, 1999, pp. 25, 106-107, and 178, illustrated.
Michael Sheridan, catalogue of the exhibition, Poul Kjærholm - Møbelarkitekt, Louisiana Museum of Modern Art, Humlebæk, June 23-September 24, 2006, pp. 138,165-66, 186, 189, 191, 194, 211 illustrated.
Of the Period
Place of Origin
Date of Manufacture1960s
WearWear consistent with age and use
Seller LocationNew York, NY
Number of Items2
About Poul Kjærholm (Designer)
A trained cabinetmaker, Poul Kjærholm’s use of industrial methods and materials in the 1960s brought a fresh, graceful, sleek new style to Danish modern design.
At Copenhagen’s School of Arts and Crafts, Kjærholm studied under Hans Wegner and Jørn Utzon — an industrial designer and the architect of the celebrated Sydney Opera House. The latter greatly influenced Kjærholm’s furniture production techniques — although he employed natural materials such as cane and leather, to a far greater extent than his peers Kjærholm embraced the use of steel (rather than wood) framing for his chairs and tables.
Kjærholm’s signal design was the PK 22 chair of 1956, a low-slung leather lounger on a steel base. The ideas introduced in the PK 22 — Kjærholm’s designs were named using a numeric system devised with his manufacturer, E. Kold Christensen — were refined throughout his career, as the offerings below show: the PK 11 chair of 1957, with back and armrests formed by a semicircle of ash; the capacious, richly patinated leather seat of a vintage 1961 PK 9 chair; the elegant rattan swoop of the PK 24 chaise longue (1965). The chaise longue's leather headrest, held in place by a steel counterweight, best shows Kjærholm's particular gift for combining technological advancements with a respect for traditional detailing. While respectful of the past, Poul Kjærholm's sensibility is one of optimism and expectation. His was design for those who lived with verve and élan, and confidently anticipated the future.
Read more about Poul Kjaerholm in Introspective Magazine
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