Arne Jacobsen 3107 Butterfly Chairs & Piet Hein Table Fritz Hansen 1990 Denmark

The celebrated Model 3107, or Series 7, chair showcases Arne Jacobsen’s (1902–71) trademark understatement and interplay between form and functionality. Part of a seductive foray into minimalism for the modernist Danish architect and designer, the Series 7’s seat and backrest were produced from a single piece of bent plywood in 1955 for manufacturer Fritz Hansen.

The lean, stackable chair updates Jacobsen’s simple and spare 1952 Ant chair to a broader base while retaining its revolutionary construction (also a one-piece seat and back) and adding an extra leg. It was a thoroughly modern design inspired in equal parts by the Danish cabinetmaking tradition that preceded Jacobsen as well as the gentle and organic forms that typified Scandinavian modernist furniture. The chair was also a technical advancement of Charles and Ray Eames’ innovative plywood molding techniques. 

Trained as a mason and then an architect, Jacobsen assisted in Copenhagen's City Architect's Office after graduating from the Royal Danish Academy of Fine Arts in 1927, where he eventually became a professor. He set up his own design practice in 1930 and produced large-scale projects such as the Bellavista housing estate, a revered work of Bauhaus-style architecture situated north of Copenhagen in Klampenborg. 

In 1960, Jacobsen completed his architectural work on the 22-story SAS Royal Hotel and Air Terminal in Denmark’s capital city, but, as he preferred to be involved thoroughly in such commissions, he designed the interiors as well as every other possible detail for the accommodation property, from lighting to textiles to furniture. A diverse designer with a world-famous work ethic, Jacobsen also created modern light fixtures, bathroom fittings, cutlery and metalware — a 1957 set of flatware he designed for A. Michelsen was featured in Stanley Kubrick’s 2001: A Space Odyssey.

Jacobsen was one of the most successful and accomplished Danish designers of the 20th century. Along with the Ant and massively successful Series 7, his Swan and Egg chairs, produced in 1958 for the SAS hotel, are definitive exports and exemplify Danish modern’s marriage of quality materials, simplicity and thoughtful form.

The Series 7 has remained in production since 1955 at Fritz Hansen, where carpenters carefully select and cut sheets of veneer by hand in order to maintain the chair’s classic shape. It remains among Jacobsen’s most simple and pared-down chairs, and while each model is made of pressure-molded sliced veneer, the Series 7 is available in varying veneers and finishes. It is the most sold chair in the manufacturer’s history.

As the descendant of four generations of Swedish master cabinetmakers, Bruno Mathsson was born to design furniture. Mathsson was known as a methodical perfectionist who made usefulness the fundamental attribute of his works, yet he was also a ceaseless experimenter, who constantly searched for improvements in form, materials and methods of making.

Like the Finnish designer Alvar Aalto, Mathsson was one of the first Scandinavians to embrace undulating, biomorphic forms in furniture. His early pieces such as the Eva and Pernilla series of chairs incorporate dramatically flowing bent beechwood frames, making them some of the most instantly recognizable works of 20th-century design. Mathsson was also a pioneer of ergonomics — he is said to have based the contours of his chairs on the impression his body made when he sat in a snow bank — and used supple, accommodating woven webbing for seats. His concern for practicality is shown by pieces such as the Maria table. An elegant design with gate legs and hinged leaves, the table measures more than nine feet long when fully extended, but folds down to just nine inches in thickness.

From the mid-1940s through the 1950s, Mathsson focused on architecture, designing and building houses with insulated, triple-glazed window walls and heated floors — construction that flew in the face of traditional wood-clad Swedish residential design, and consequently met with some skepticism. He returned to furniture in the 1960s, employing an entirely new suite of materials: Stainless-steel framing and mesh seats feature in pieces like the Jetson chair; with the mathematician Piet Hein, Mathsson designed the Super-Elliptical table, which has a laminate top and four-part tubular steel legs that sprout like flower stems from a single base. 

Bruno Mathsson’s stylistic flexibility as a designer, as you will see from the works on 1stDibs, make him a creator whose pieces meet all tastes and needs.