Selected Nordic Design III

Selected Nordic Design III

20th century Nordic design is often described as timeless, distinguished by its enduring beauty. The era was marked by a steadfast commitment to quality, where designers and craftsmen merged tradition with modernity, creating pieces grounded in craftsmanship and material sensitivity. Their creations emphasized functionality and structural clarity, seamlessly integrating aesthetic refinement into everyday life.

This catalogue showcases the finest and most remarkable pieces from our current collection. The pieces were chosen purely for their significance and exceptional craftsmanship, highlighting the rich diversity of 20th century Nordic design. The selection embodies a tradition of connoisseurship we began to forge almost 35 years ago. As we look ahead to the next chapter, we invite you to explore these remarkable pieces and join us in celebrating the love of beauty that drives everything we do at the gallery

KAJ GOTTLOB, 1887-1976

MARI FORSBERG, 1916-1992

TOVE KINDT-LARSEN, 1906-1994

EDVARD KINDT-LARSEN, 1901-1982

Pair of fireplace chairs, 1939

Cuban mahogany, textile and Niger leather

Made by cabinetmaker Gustav Bertelsen

8 KAJ GOTTLOB, 1887-1976

Display cabinet, 1922

Cuban mahogany, glass and brass

Made by cabinetmaker Anders Svendsen

Provenance: Johan Ludvig Kyhn

The dawn of modernism

The beginning of the 20th century was defined by a revival of classicist traditions, which ultimately culminated in the 1920s. This meant a new idealization of the artistic style introduced in ancient Greece and Rome. Yet, it was not simply a celebration of classicist forms and ornamentations, but more so a reinvention of the classicist demands of clarity, moderation, and harmony. The 1920s were generally characterized by aesthetic disruption, as new ideas of modernity were introduced. Times were changing, and the beginning of a new era in Danish architecture and furniture design was on the rise. Today, this mid-century era, marked by the first edition of the Copenhagen Cabinetmaker’s Guild exhibition in 1927, is described as the Golden Age of Danish design and the outcome is recognized around the world. However, the crucial years just before 1927 are rarely emphasized despite their vast impact on the creation of modern furniture as we know it today.

In 1914, a circle of cabinetmakers joined forces and established the “Danish Arts and Crafts Association” – a predecessor to the Copenhagen Cabinetmakers Guild. A union that likewise favoured a close collaboration between architects and craftsmen. In 1922, the association held an exhibition, in which the members had allied themselves with younger architects to provide proposals for new furnishings. Among them was upcoming architect Kaj Gottlob (1887-1976) who presented a “Study Suite” in collaboration with cabinetmaker Anders Svendsen. One of the pieces was the present unique and extraordinary display cabinet.

Kaj Gottlob had already made a name for himself as a prominent employee at the renowned architect Hack Kampmann’s studio. In 1924 he became a professor at the Royal Academy, the same year as the department of furniture design was established under the leadership of Kaare Klint. In 1936 he was appointed as Royal building inspector, and the legacy of his work is still a vital presence in Danish architecture.

Gottlob was inspired by the monumental ideals of classicism, as the present cabinet exemplifies. He was well-traveled and found great inspiration on his trips around Europe and was particularly interested in Greek architecture. The beautifully crafted meander border – a la Grecque – decorating the base of the cabinet alongside the Romanesque arches on the glass doors demonstrates his appreciation of modest, geometric outlines. The same elegant arch was used for the windows at the Saint Lukas Church in Aarhus, Denmark built in 1926 - one of Gottlob’s many architectural masterpieces.

Additionally, the cabinet embodies Gottlob’s classicist nature as an architect, using repetition and rhythm, as an essential element that creates harmony and balance. Gottlob believed it was essential to simplify the highly ornate style of the past, whilst preserving its harmonious proportions and high standards of craftsmanship. The cabinet stands as a testimony to a pivotal time in the history of Danish Furniture design and is one of the earliest articulations of Danish modernism.

PER WEISS, 1953-2023

BARBRO NILSSON, 1899-1983 Bankrabatten, grön, 1966 Wool, knotted pile Made by Märta Måås-Fjetterström AB

298 x 447 cm

ARNE BANG, 1901-1983

Large bowl, 1933

Glazed stoneware

Made by Holmegaard Stentøj

Diameter: 41,5 cm

CARL-AXEL ACKING, 1910-2001

Soft modernism

Swedish architect Carl-Axel Acking (1910-2010) had an early start to his creative career, when he was employed at an architectural studio at the age of just 15. At age 21, he moved to Stockholm to advance his skills and study furniture design at the Konstfack.

In 1936, Acking was recruited by Gunnar Asplund – one of Sweden’s most influential architects. While employed at Asplund’s office, he assisted in developing furniture for numerous successful projects including the renowned Woodland Crematorium at Skogskyrkogården in Stockholm (1940). This experience deepened his understanding of both architectural spaces and interior elements, skills that would define his later work.

Acking received his international breakthrough in 1937 when he exhibited at the World Exhibition in Paris, which set off a long and fruitful career with numerous successful outputs within the field of architecture as well as interior and furniture design.

In 1939, Acking was commissioned to design the commissariat in New York for the Swedish diplomat Folke Bernadotte. The interior project was part of an exhibition held in New York titled The World of Tomorrow, in which Acking participated in collaboration with Bröderna Malmströms Metallvarufabrik – a leading lighting manufacturer in Sweden.

For the office of Bernadotte, Acking designed a small series of lights: the New York – series, characterized by sloping, perforated shades in polished brass. The present chandelier was designed for this project, originally displayed in a smaller version with just three shades. Given the success of the exhibition, Acking was able to further develop the series, resulting in the present wall lights and floor lamp. The distinctive brass shades are a central feature in this series and reoccur in all of the present pieces, an equally functional and decorative element to which the shape and material provide a soft, ambient glow. The perforated surface of the brass gives an interesting, speckled expression, allowing the light to delicately shine through.

Despite his adherence to functionalist principles in architecture, Acking’s interiors are defined by a warm presence and welcoming nature. His meticulous attention to detail ensured that even the smallest elements retained a strong sense of character and purpose. The present floor lamp, designed in 1940, is a beautiful testament to his ethos as a designer. The metallic quality of the brass is balanced by the soft feel of the leather that is beautifully bound around the stem, adding a welcoming and tactile element. Additionally, the five-armed chandelier stuns with its monumental presence. To accommodate a more suitable light for a pendant, Acking has ingeniously reversed the shades, directing the light downwards, whilst shielding the light source with a smaller version of the brass shade, ensuring the same atmospheric light.

CARL-AXEL ACKING, 1910-2001

Floor lamp. 1940

Brass, partly painted and leather

Made by Bröderna Malmströms Metallvarufabrik

20 CARL-AXEL ACKING, 1910-2001

Chandelier, 1939

ACKING, 1910-2001

1940

A rare lounge set

Ib Kofod-Larsen (1921–2003) is widely regarded as one of the most distinctive Danish designers of the 20th century, known for his expressive and playful approach to furniture design. Kofod-Larsen developed an early interest in furniture design, leading him to study at the Royal Danish Academy of Fine Arts Department of Furniture Design. Shortly after graduating in 1948 he founded his own design studio.

Unlike many of his Danish contemporaries, who primarily worked with local manufacturers, Kofod-Larsen had an international reach. Throughout his career, he collaborated with both Danish and international cabinetmakers and manufacturers, leaving a lasting impact on the international legacy of Nordic modernism. He was particularly inspired by the sculptural works of Finn Juhl, which is evident in his own organic and curved idiom that seamlessly merges beauty, elegance, and ergonomic functionality.

One of Kofod-Larsen’s most remarkable creations is the present lounge set, designed in 1959. It was exhibited by the renowned cabinetmakers Christensen & Larsen at the annual Copenhagen Cabinetmakers’ Guild Exhibition. The set is comprised of an extraordinary cross-shaped lounge table with a beautifully patinated leather top with four meticulously crafted lounge chairs designed to complement the table’s unique form. The chairs stand out with their distinctive winged armrests, which exhibit a seamless transition between materials, skillfully integrating the leather as a natural extension of the wood.

Beyond its aesthetic appeal, the design is notable for its functionality and innovative approach to social interaction. The table sits unusually low, as it was originally displayed with cushions that could double as footrests, further enhancing the comfort and informal nature of the seating arrangement.

The true genius of the set is found in Kofod-Larsen’s innovative approach to designing a social setting and exemplifies KofodLarsen’s mastery of blending form and function. It strikes a balance between structured formality and inviting comfort, creating an interesting yet comfortable seating experience albeit in a strictly defined formation.

JOSEF FRANK, 1885-1967

The humanist of modern design

Josef Frank (1885-1967) was an Austrian-born architect, designer and professor. He grew up in Vienna, where he studied architecture at the Kongstgewerbeschule. In 1933 Frank was forced into exile, due to his Jewish origin, and traveled to Sweden. Shortly thereafter he began working with Estrid Ericson at Svenskt Tenn and together they transformed the narrative of Swedish design.

Frank worked under artistic pressure from the norms and rules dictated by his functionalist colleagues. Nevertheless, he remained an artist of great integrity, questioning the pragmatism of the functionalist movement, fearing that this standardized approach was compromising the understanding of interior design. Instead, he created a freer and more artistic direction of modernism, where the concepts of comfort and atmosphere were united in a decorative universe of vivid colours. Strongly influenced by the artist William Morris, Frank aimed to include the colours and forms of nature, adding life and freedom to his interiors.

The present Flora cabinet is one of the most prominent examples of his distinctive naturalistic style. In 1758, Swedish naturalist and researcher Carl Lindman (1707-1778) acquired a large estate near Uppsala, Sweden. Here, Lindman covered his office and bedroom walls with hand-colored, botanical illustrations from his publication Nordens Flora (Nordic Flora). This way of applying floral motifs became an important inspiration for Josef Frank and Estrid Ericson. In 1930, Ericson re-introduced Lindman’s idea, by covering the walls in her bedroom alcove with the same motif. Never shy of adding life and character to his interiors, Frank saw an opportunity to use this idea on a smaller scale, by adding the prints to his furniture design. As opposed to his own floral pattern design, characterized by a fictional abundance and richness, the Flora motifs express a different, subdued quality Originating from the hands of a scientist, rather than a designer, Lindman’s prints accurately portray the flora and fauna found in the nature of the North. Each variety is marked with its Swedish and Latin name, inviting you to explore the different motifs and further your knowledge. Testifying to his pioneering nature as an artist, Frank managed to create a new way of engaging with furniture design.

The frame of the cabinet is finished in mahogany, a wood type favoured by Frank for its exotic warmth and luxurious quality. He believed the decorative vitality of historical styles should coexist with the ideals of modernism – a philosophy illustrated by the clean, geometric outline of the cabinet which naturally makes space for the ornate exterior.

BARBRO NILSSON, 1899-1983

Tånga Grön, 1955

Wool, tapestry weave

Made by Märta Måås-Fjetterström AB

259 x 353 cm

Dining group, 1942

Set of twelve chairs and table

Cuban mahogany and leather

Provenance: Jens Udsen

An extraordinary dining set

The Danish furniture company Fritz Hansen was established in 1872 and has since become an integrated part of Danish design history. As the first large-scale workshop, the company gained a leading position in the early years of Danish modernism, facilitating some of the most iconic designs during this period. Mostly celebrated for its serial productions, the company also created unique, commissioned pieces for clients who wanted something extraordinary.

One of those clients was business tycoon Jens Udsen (1888-1947). After spending several years working abroad, Udsen returned home in 1920 to start a successful career as a luxury hotel developer. In 1928, he acquired Hotel Postgaarden in Slagelse, transforming it into an important cultural establishment. Udsen maintained a private residence in the hotel. He was an established art collector, and the apartment was carefully curated with contemporary art. It was for this space that the present dining set was commissioned in 1942.

The set includes an extendable dining table in Cuban mahogany with five extension leaves, allowing it to accommodate any occasion. It has a modest beauty, eliminating any superficial decorations, allowing the material and craftsmanship to speak for itself, whilst creating visual space for the extraordinary set of chairs. Defined by a refined elegance, the sculptural outline of the chairs becomes the main focal point of the set, as the expansive, almost wing-like curvature of the backrest provides a powerful expression that naturally captivates the eye. The concept of separating the upholstered elements from the wooden frame was considered highly contemporary at the time, testifying to its distinctive modern feel. The seat and back are upholstered in original, natural leather which has obtained a beautiful patina.

Additionally, the set includes a large wall-mounted sideboard, also executed in Cuban mahogany, with beautifully sculpted brass handles, creating a visual coherence with the table and chairs. To complete the set a small wall-mounted console with cream-coloured painted fronts beautifully contrasts the dark wood, elevating the overall expression of the set. The result is an impressive interior, defined by exquisite materials and craftsmanship. Characterized by an elegant simplicity and delicately designed details, the set represents the pinnacle of Danish modernism.

ALVAR AALTO, 1898-1976

Armchair, 1930’s

Made by Huonekalu-ja Rakennustyötehdas Oy

BIRGER KAIPIAINEN, 1915-1988

50 FRITS SCHLEGEL, 1896-1965

FRITS HENNINGSEN, 1889-1965

An uncompromising craftsman

Cabinetmaker Frits Henningsen (1889-1965) was a remarkable figure in the history of Danish design. As a traditional craftsman, who strived to sustain the conventional methods of furniture-making, he strongly believed that the craftsman should possess an artistic understanding of the design process. Henningsen acknowledged the unique opportunities of a close collaboration between architects and craftsmen – an alliance that was highly topical at the time. However, this could only be successful if the architect understood the technical possibilities of the material. Henningsen therefore believed that the best furniture emerged when the cabinetmaker designed and executed the pieces himself.

Henningsen completed his training as a cabinetmaker in 1911 at the age of 22, having apprenticed for one of the most recognized cabinetmakers of the time I.P. Mørck. During his training he spent time at the Technical School, where he was taught by Kaare Klint. This encounter had a significant influence on Henningsen’s development as a designer and provided him with an incredible stylistic insight. After completing his education, he travelled around Europe to work and gather inspiration from international styles such as French Empire, Rococo and British 17th Century furniture. Throughout his profession, he developed his own original way of reinterpreting historical styles. The high-back sofa, designed in 1936 is a refined example of how he combines tradition and modernity. The outline has a classical feel, yet its slender simplicity endows it with a unique modern touch.

Even though he greatly appreciated the masters who taught him, Henningsen always knew that he wanted to take a different approach to the art of craftsmanship. Considering himself an idealist, he deliberately took on a practical job, to promote the importance and appreciation of modern, Danish furniture design. In 1915, he returned to Copenhagen and opened his own workshop and furniture store, where he was mostly occupied with commissioned pieces for private clients.

The sculptural armchair in solid Cuban mahogany and beautifully patinated Niger leather testifies to his impeccable skills as a cabinetmaker and incredible attention to detail. The soft, curved lines allude to the ideals of the past in a familiar, yet distinctively modern idiom.

Henningsen’s methodology was centered around the home, and he drew much inspiration from conversations with his clients to better understand their needs and subsequently accommodate the finished piece.

One of Henningsen’s most remarkable pieces is the rare Wingback chair designed c.1935. Defined by its distinctive high back and extensive wing-like outline, the chair has a strong presence that naturally becomes the focal point in any room. Like all Henningsen’s pieces, the curved, organic line dominates the expression, and like the high-back sofa, the chair has a sense of enclosure and intimacy.

FRITS HENNINGSEN, 1889-1965

BARBRO NILSSON, 1899-1983

Gula Rabatten, 1944

Wool, knotted pile

by Märta Måås-Fjetterström AB

Diameter c. 300 cm

BERTIL BRISBORG, 1910-1993

OLLE ELMGREN, 1894-1985

Wall lamp, c. 1951 Brass, steel and glass

Made by Nordiska Kompaniet

Provenance: The Cinema Forellen, Luleå, Sweden

VILHELM LAURITZEN, 1894-1984

Armchair, c. 1940

Cuban mahogany, Niger leather and brass

Made by cabinetmaker Normina

Provenance: The National Broadcasting House, Copenhagen

The Hussar

Architect Flemming Lassen (1902-1984) had a solid background in construction and engineering prior to his artistic and creative work. Since childhood, he and his brother, fellow architect Mogens Lassen, developed a great interest in art through their parents, who were both artists. Lassen was a highly productive architect who played a substantial role in the creation of numerous prominent buildings. In 1929, he and his lifelong friend and collaborator Arne Jacobsen won a national competition by the Danish Architects’ Association to build The House of the Future at the Housing and Building Exhibition in Forum, Copenhagen. This house marked the introduction of international modernism in Danish architecture and determined Lassen’s breakthrough as an internationally recognized architect. Another iconic building is Søllerød City Hall from 1942, a total environment with interior, furniture, lighting and curtains also designed in collaboration with Arne Jacobsen. Today the building stands as a landmark within Danish architecture.

Flemming Lassen became an important figure in the development of Danish modernism with his cubist and powerful buildings, characterized by a strong and stringent exterior. Additionally, he designed a few pieces of distinctive furniture that, contrary to his buildings, possessed a warmer and more inviting charm.

The present Hussar easy chair belongs to the very best of his upholstered furniture from the 1930s. This chair was designed for The Copenhagen Cabinetmakers’ Guild Exhibition in 1935, as part of a series titled Furniture for a Bachelor’s pad, made by A.J. Iversen, one of Copenhagen’s finest cabinetmakers. The chair parallels another example of his accomplishments as a furniture designer, the 1936 easy chair titled The Tired Man.

The distinctive, voluminous, yet sculpturally elegant chair - whose name refers to a cavalryman, distinguished by their dashing attires – was exclusively made by A. J. Iversen in a limited number, making it a rare chair to encounter. The soft, curved outline embodies it with a welcoming appearance, perfectly suited for a comfortable rest.

FLEMMING LASSEN, 1902-1984

OLE WANSCHER, 1903-1985

Drawing cabinet, 1940’s

Brazilian rosewood, mahogany, brass and linoleum

Made by cabinetmaker A. J. Iversen

POUL HENNINGSEN, 1894-1967

Grand Piano, 1931

Chrome-plated steel and brass, painted iron, stained wood, Niger leather and Perspex

Made by Andreas Christensen

Provenance: Gunnar Bratvold

POUL HENNINGSEN, 1894-1967

Spiral lamp, 1964

Brass, copper and aluminium

Made by Louis Poulsen

Provenance: FDB Headquarter

A legacy of light

PH. You do not need more information other than these renowned initials to recognize the celebrated trademark of Danish architect and lighting designer Poul Henningsen (1894-1967), a man who played a crucial role in the evolution of lighting design. Henningsen was a prominent figure of his time – not just in the world of design, but he also achieved great influence through his authorship. He was known as a progressive thinker, not shy of expressing his opinions. He was particularly vocal about his beliefs on the necessity to combine art and technique in order to improve design. This symbiosis is manifested in his lamp design where aesthetics and function are always equally represented.

His light experiments in collaboration with lighting manufacturer Louis Poulsen led to the construction of the iconic PH lamp, demonstrating a paradigm shift in the evolution of modern lighting. PH was among the first to apply a scientific understanding of light to his designs. From the very beginning of his profession, he strived to create a unique, technical construction that would present the perfect glare-free light.

In 1943, Henningsen was commissioned to design the lighting for the main hall at the newly erected University of Aarhus, designed by architect C.F. Møller. For the large, 19-metre-tall ceiling, Henningsen designed a monumental ceiling light formed as a large spiral. The concept of the Spiral was first introduced as a prototype in 1942 but was not fully completed until it was installed in the hall after the Second World War. The shape of the spiral is meticulously constructed at a perfectly aligned angle, allowing the light to illuminate all parts of the spiral, creating a beautiful distribution of light.

The present piece is a particularly rare version of the Spiral, designed exclusively for the Headquarters’ assembly hall at the Danish Consumers Cooperative Society (COOP) in 1964. The distinguishing factor is that the spiral is completed in three different materials: brass, copper and aluminium. In order to assemble the different materials into one cohesive spiral, the distance between the levels had to be steeper than in the Aarhus University version. Alongside the visual effect of the different metals being exposed to light, the steep curve likewise provides a more interesting experience of light. The construction of the complex design proved difficult, time-consuming and ultimately very costly; hence the Spiral lamp never went into production. As a result, the present lamp is an extraordinary rare piece, that embodies the innovative and playful genius of Poul Henningsen’s legacy.

MARIANNE RICHTER, 1916-2010

Strandstenar, gul, 1947

Wool, flat-weave

Made by Märta Måås-Fjetterström AB

238 x 330 cm

PREBEN FABRICIUS, 1931-1984

JØRGEN KASTHOLM, 1931-2007

Scimitar chair, 1963

Steel and leather Made by Ivan Schlechter

ALVAR AALTO, 1898-1976

Pair of pendants, c. 1962

Brass and painted aluminium Made by Valaistustyö Oy

BØRGE MOGENSEN, 1914-1972

Pair of Hunting chairs, 1950 Oak and saddle leather

Made by cabinetmaker Erhard Rasmussen

A striking presence

Børge Mogensen (1914-1972) began his career as a cabinetmaker in 1934. In 1936 he went on to study at The Copenhagen School of Arts and Crafts under Professor Kaare Klint and subsequently entered the Royal Academy of Fine Arts from where he graduated as an architect in 1942. He became Head of Design at FDB (the Danish Co-op) in 1942 before establishing his own studio in 1950.

During his years at the Copenhagen School of Arts and Crafts, the young Mogensen developed a close partnership with his mentor Kaare Klint and consequently assumed Klint’s approach to simple, functional and well-constructed furniture. Mogensen’s furniture is characterized by strong and clean lines and his true genius is to be found in his near-scientific analysis of the functionality of a piece of furniture.

In 1950 Mogensen collaborated with master cabinetmaker Ludvig Pontoppidan – one of the finest craftsmen at the time. The present table is an unusual piece for Mogensen, as it represents a more organic and freer idiom in contrast to his usual style. The sculptural table consists of a four-legged base arranged in a cross with a beautiful solid teak tabletop. The wide construction of the legs emphasizes the oval form, imbuing it with a strong graphic outline. The table is expertly crafted with very minimal treatment, allowing the natural quality of the materials to speak for themselves. Mogensen’s furniture is typically defined by a humble expression, celebrated for its simple beauty and quiet nature. Contrary to this philosophy, the present set is characterized by a striking presence that demands attention.

To further emphasize the table’s dramatic expression, the accompanying chairs beautifully echo the table base. The chairs are elegant and light, both visually and physically, making them easy to maneuver and likewise balance the monumental feel of the table.

The table was exhibited by Pontoppidan at the Copenhagen Cabinetmaker’s Guild Exhibition and is the only known example. It was hence acquired by renowned Danish artist Per Kirkeby.

BØRGE MOGENSEN, 1914-1972

Table with ten chairs, 1950 Teak, ash and textile Made by cabinetmaker Ludvig Pontoppidan

Provenance: Per Kirkeby

BARBRO NILSSON, 1899-1983

Guldhästen, 1966

Unique tapestry

Mixed thread, tapestry weave

Made by Märta Måås-Fjetterström AB

Provenance: Sydsvenska Kraft AB

228 x 242 cm

Dansk Møbelkunst Gallery

Aldersrogade 6C

DK - 2100 Copenhagen Denmark

+45 3332 3837 info@dmk.dk

www.dmk.dk photography: Dansk Møbelkunst

interior photography: Maya Matsuura

graphic design: mauryDESIGN

print: Narayana Press

copyright: Dansk Møbelkunst ApS 2025