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PK 61 Sofa Table in Highly Figured Cipollino Marble by Poul Kjærholm

About

Offered by Vance Trimble, PK 61 Sofa Table in Highly Figured Cipollino Marble by Poul Kjærholm. Stamped on the frame with the maker’s mark of E. Kold Christiansen. The original top, in excellent condition, is of a particularly beautiful and highly expressive cipollino marble. The frame is of matte, chrome-plated steel. Designed, 1955. Literature: Christoffer Harlang, Keld Helmer-Petersen, and Krestine Kjærholm, eds, Poul Kjærholm, Vojens, 1999, p. 22, illustrated, and pp. 86-87, illustrated, and p. 175. Michael Sheridan, catalogue of the exhibition, Poul Kjærholm - Møbelarkitekt, Louisiana Museum of Modern Art, Humlebæk, June 23-September 24, 2006, pp. 75, 84, 111, 138, 142, and 160, illustrated.  

Details

  • Condition
    Excellent.
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 12.63 in. x W 31.5 in. x D 31.5 in.

    H 32.09 cm x W 80.01 cm x D 80.01 cm

  • Seller location
    New York, NY
  • Seller reference number
    Vance Trimble, New York
  • Reference number
    LU105504073683

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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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