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See also GIO PONTI table,
Le Corbusier Basculant chairs,
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Finn Juhl Danish Teak Vtg 60s Chair for France & Son
Mint condition
Teak and black simulated leather
With original metal tag
Marked: Made in Denmark
Tag: France & Son
This iconic chair by one of the most famous Scandinavian mid-century designers, Finn Juhl (1912-1989)
The chair is a truly magnificent and rare chair, referred to as the Carver Armchair, beautifully sculpted and designed by Finn Juhl and manufactured by France & Daverkosen (France & Son) in Denmark in 1963.
The chair is listed as one of the most important designs of the 60s, and Finn Juhl is one of the masters of the Eames Era Danish design group.
This chair is not easy to come by, and we are uncertain how many were manufactured. The solid teak heavy sculpted arms of this chair rival the work of another Finn Juhl furniture manufacturer, Niels Vodder, who brought the designer's work a level of craftsmanship superiority unmatched by any shop. The floating seat design sits on ebonized wood dowels and beautiful patina on brass hardware that attaches the seatback to the chair frame are exquisite details executed in this rare chair.
This chair was purchased in Europe, it is in mint condition. Warm original patina, very little wear on the wood. Seat has its typical rivets. This chair is very large and comfortable.
Measures: 33H; 28"W, 23"D
Finn Juhl (1912–1989) was the first Danish furniture designer to be recognized internationally. He studied architecture at the Royal Academy in Copenhagen and with Danish architect Vilhelm Lauritzen, but as a furniture designer he was self-taught, a fact he always emphasized.
Juhl began designing furniture in the late 1930’s, in the beginning mostly pieces intended for himself, but after setting up his own office in 1945 he soon became known for his unusual, expressive and sculptural pieces. He initiated a collaboration with master cabinetmaker Niels Vodder, and caused a stir at the annual Cabinetmaker’s Exhibition with designs clearly influenced by modern, abstract art. Compared to his contemporaries, Juhl placed more emphasis on form and less on function, a serious break with the tradition of the Klint School.
Finn Juhl’s first American assignment came in 1951 when he was asked to design the interior of the Trusteeship Council Chamber at the UN headquarters in New York. An overwhelming task for a rather inexperienced, young architect, but Juhl gained much praise for his result. This first experience in America and the contacts made in connection with it, later proved valuable for many Danish architects, because it paved the way for the notion of ‘Danish Modern’ to become internationally known and valued.
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