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Björn Wiinblad for Rosenthal limited art series dining room set table & 8 chairs

$27,392.48per set
£20,059.68per set
€22,800per set
CA$37,288.02per set
A$41,795.07per set
CHF 21,761.47per set
MX$510,335.68per set
NOK 276,291.55per set
SEK 261,899.54per set
DKK 173,514.95per set
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About the Item

THE FOUR CARDINAL POINTS Rosenthal Kunstmöbelreihe This noteworthy design is the work of Bjørn Wiinblad. The furniture pieces were produced in a limited edition of 300 in 1976. Each table and chair is an original print, rendering each piece a unique entity. The prints were produced by hand under the artist's supervision at the Herbert Geier screen printing studio in Ingolstadt, Southern Germany. The serigraphy technique was employed, utilizing 18 colors. Each item is individually signed and numbered in accordance with the artist's specifications, as outlined in the original contract. The collection comprises a nine-piece ensemble, consisting of eight chairs and a substantial dining table. The material is a black lacquered hardwood. The set is in remarkable condition and, in this author's estimation, is the most well-preserved set of Wiinblads' "The Four Cardinal Points" art furniture that can be found worldwide. The dimensions of the set are as follows: the diameter of the dining table is 145 centimetres, and its height is 72 centimetres - the tableboard is reversible. The chairs have a seat height of 45 centimetres, a depth of 45 centimetres, a width of 43 centimetres, and a total height of 111 centimetres. About the artist: Bjørn Wiinblad (1918-2006) is regarded as an artist of considerable versatility, continually reinterpreting himself and his work in pursuit of novel avenues and materials for embellishment. Fairytale designs imbued with a sense of joy. Björn Wiinblad's creative output was characterised by a multifaceted approach to artistic expression. He painted oriental ladies and mythical creatures, creating works that evoke joy, fairy tales, and fantasy at a time when minimalism was prevalent. Wiinblad made significant contributions to various artistic disciplines, demonstrating a lifelong dedication to decoration through painting. His unwavering creativity, exuberant Oriental style, and exceptional talent established him as a seminal figure in Danish art, celebrated for his multifaceted contributions to the visual arts. The Danish artist Bjørn Wiinblad, illustrator, and ceramicist, evinced an early proclivity for artistic pursuits. He was born in Copenhagen in 1918. He pursued studies in fine art at the Royal Danish Academy of Fine Arts in Copenhagen, graduating in 1943. In 1946, he commenced employment with the Danish pottery Nymølle, which he subsequently assumed control of in 1976. In 1952, he established his own design studio and subsequently commenced employment with the German porcelain manufacturer Rosenthal. In 1957, he was promoted to the position of lead designer for Rosenthal, which provided him with the opportunity to travel throughout Europe and gain international recognition. In contrast to his contemporaries, who were preoccupied with functional aesthetics, Wiinblad's style was characterized by a delicate and romantic sensibility, with a proclivity for rich colors and undulating lines. These elements were frequently inspired by the fairy tale tradition. His dedication to soulful ceramic design is exemplified by the iconic Magic Flute series (1959) for Rosenthal, a meticulously crafted table service that pays homage to Mozart's opera The Magic Flute. Additional noteworthy designs for Rosenthal include the Romance series (1959), the 1001 Nights series (1969), and the Quatre Couleurs series (Sixties). While Wiinblad is primarily recognized for his contributions to ceramic design, he also engaged with a diverse range of other artistic mediums. In 1947, he was commissioned by the American Embassy in Paris to design a series of posters. Concurrently, he initiated his career as a costume and set designer for the Royal Theater in Copenhagen, creating designs for Lysistrata (1949), Undine (1962), and Hans Christian Andersen's The Swineherd (1969). Wiinblad's oeuvre is represented in numerous museums and permanent collections across the globe, including the Victoria & Albert Museum in London, the Museum of Modern Art in New York, and the National Museum in Stockholm. shipping:: Shipping :: I'd be more than happy to offer you the most competitive shipping option if you just provide me with your postcode! For the fastest and most secure shipping, your item will be shipped by us: air freight and perfectly packed in a custom-made wooden OSB board box on pallet (aprox. 160cms x 140cms x 175cms high) DAP (Delivery At Place).
  • Creator:
  • Dimensions:
    Height: 27.96 in (71 cm)Diameter: 57.09 in (145 cm)Seat Height: 17.72 in (45 cm)
  • Sold As:
    Set of 9
  • Style:
    Space Age (Of the Period)
  • Materials and Techniques:
  • Place of Origin:
  • Period:
  • Date of Manufacture:
    1974
  • Condition:
  • Seller Location:
    Landshut, DE
  • Reference Number:
    1stDibs: LU8587242509032

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Midcentury set of 2 solid cherry wood wingback armchairs & sofa Karl Nothhelfer
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just beautiful SET of Sofa & 2 Wingback Armchairs by Prof. Karl Nothelfer - Designed in 1957 maker: Schörle & Gölz in Stuttgart - Bad Cannstatt solid Cherry Wood new upholstery and fabrics in 1998 according to last owner ( since then just in use for 2 years so upholstery is perfect ! ) Seatrests can be removed - and fixed by clips on belts - high class - measurements: easy chair is 70cm wide ~ sofa is 178cm wide both: seating height 40cm ~ seating depth: 57cm condition - all firm and in very good condition - no damages furniture have fully been accurately cleaned :: - 3 steps: A: air pistol - B: industrial hoover - C: latest Kärcher "wash&hoover" technology - woods have been polished several times note: please ask for shipping quote by sending us your postcode/destination Prof. Karl Nothelfer * 14 June 1900 ~~ + 20 May 1980 Since the beginning of the 15th century, the Nothelfer family of carpenters has been continuously resident in the former town of Überlingen without interruption. Every carpenter at that time mastered all the possibilities of woodworking: so did the Nothelfer. They could carpenter, even carve altars and figures, and set them in gold, silver and paint. (churches in Owingen and Hödingen]. Some family members lived and worked and worked in Hedingen or Hödingen,like today the jubilarian Karl Nothelfer (this in 1975). His father, Karl Anton Nothelfer, as the eldest of seven siblings, was able to take over his father's carpentry business in Überlingen. Karl Anton Nothelfer, the eldest of seven siblings, was unable to take over his father's carpentry business in Überlingen. He instead moved to the industrial town of Singen with his young wife Rosalie, née Hanner, from the from Hohenzollern in 1896 and moved to the former Poststraße and founded his own carpenter's workshop. He had a highsense of quality and form and was already a member of the German Werkbund before 1914. Karl Nothelfer and his three siblings grew up in such air. 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