This stunning Danish Modern teak top quality desk was designed by EW Bach for Oddense Maskinsnedkeri A-S in the 1960s. Featuring a darker toned edge trim and legs, and a rich patina throughout. The front features a bank of 3 drawers with a mitered front edge to the drawer box, with each drawer having a solid teak drawer front with a cut-away sculptural drawer pull, birch drawer frame construction with dovetail joins – and the top one locks with a skeleton key. The right side has gorgeous sculptural wishbone braces from the legs to the desktop, and brass brackets from which hangs the drop leaf. To extend the leaf, raise it and pull out the two supporting beams from under the desk top. The back is a beautifully finished as the entire piece, with an open display shelf with the same mitered edge molding detail as the front. Finally, note how the left side of the desk top is curved, and when the leaf is raised, the grain runs continuously across the desk top and leaf, and the leaf has the same curved end. Additionally, since the leaf is supported on brass hooks, it may also be removed when not in use. In spectacular condition and a super practical design. Note the Danish Quality Control medallion in the top drawer. Dimensions: 25.75″D x x 29.25″H x 47″L(leaf down)/64″L(leaf in use).
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In the last MCM Furniture Design History post, we mentioned that Kaare Klint founded the furniture design department at the Royal Danish Academy of Fine Arts in 1924 and influenced the next generation of Danish furniture designers. The designer in this week’s MCM Pick of the Week, Kai Kristiansen, is one of those designers.
Kristiansen’s style, presumably informed by Klint, is known for clean lines, functionalism, and Kristiansen’s own outside-the-box thinking.
Their works, often made in warm blond wood, domesticated the cold chrome shine of the Bauhaus-influenced International style. In the process, they found a way to dovetail the words “Danish” and “modern” for the first time, joining cabinetmaker-guild traditions of high craftsmanship, quality and comfort with modernist principles of simplicity and graphic beauty.
Grete Jalk (1920-2006) was a Danish designer who made her mark on the design scene in the 1950s and 60s. She pursued an impressive list of academic qualifications, starting with the law and philosophy studies in which she chose to abandon halfway through.Instead, she commenced her design career in 1939 at the Drawing and Applied school for Women, followed by an apprenticeship as a cabinetmaker where she graduated in 1946.
Finn Juhl designed, built, and furnished his house, Kratvaenget 15 in 1941-42 with his first wife, Inge-Marie Skaarup. It’s located in Ordrup, just outside of Copenhagen. Juhl lived here until his death in 1989, after which Hanne Wilhelm Hansen, a music publisher who lived with Juhl after he and Skaarup divorced, looked after the house.
The well known furniture school of the Kongilige Danske Kunstakademi (Royal Danish Academy of Fine Arts) produced many famous alumni. One of them was Borge Mogensen, best known for his revolutionary Danish furniture design.
His mentor, Kaare Klint, guided Mogensen to study the proportions of the ideal type of traditional English chairs such as the Windsor chair and update the design into more modern contours.
Trained by cabinetmaker Niels Vodder at the school of interior design in the mid- 1940s.
Further graduated as architect in 1947 at Kunstakadamiet in Copenhagen, with Finn Juhl as professor and mentor.
After graduation Arne Vodder started as Architect at Hindsgaul in Copenhagen and worked, among other design assignments, with office decor.
Niels Otto Møller (b. Århus, 1920 – d. 1982) earned a reputation for creating design of a consistent excellence in quality and workmanship. Møller’s dedication to his craft stemmed from his cabinetmaking apprenticeship, completed in 1939, which was followed by further study at the Århus School of Design.In 1944, Møller founded his own furniture production company, JL Møllers Møbelfabrik, in a tiny workshop in the center of his hometown. While overseeing traditional furniture production in his factory,
Danish designer Peter Hvidt (1916-1986) was trained as an architect and as cabinetmaker at the School of Arts and Crafts in Copenhagen. He exhibited regularly at the Cabinetmaker’s Guild exhibitions, as a designer and as an exhibition architect, and also taught at the School of Arts and Crafts from 1942-45. In 1944 he designed the “Portex” chair, one of the first stacking chairs to come out of Denmark, and opened a furniture design office with Orla Mølgaard-Nielsen.
