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WATERCOLORS BY FINN JUHL.
Author: Sommer, Anne-Louise
Country: Germany
Code: 0585
Language:
Year Published: 2016
No. of pages: 190
Illustrations: 200 Color Illustrations. 15 B&W Illustrations.
Size: 11”x 9”
Weight: 3.00
Price: 85.00
Among the great Danish designers, Finn Juhl (1912–89) ranks alongside such giants as Hans J. Wegner and Arne Jacobsen. He was particularly well known for his sculptural, seemingly organic tables, chairs and sofas, but the complex interior designs that he developed in the 1940s and ‘50s were also enormously successful. These include the Danish Embassy in Washington, DC, and the conference room of the United Nations Trusteeship Council in New York. However, it is not widely known that Finn Juhl was also a talented watercolor painter who used the medium to devise gorgeous, exacting sketches of his pieces. For the first time, this publication allows readers to take a unique look at the designer’s working methods. Here, more than 125 subtle works on paper communicate the ingenuity of their creator. Finn Juhl’s furniture classics, living concepts and interior designs can finally be experienced in all their complexity, as one traces their development from genesis to realization.
WEGNER: JUST ONE GOOD CHAIR.
Author: Olesen, Christian Holmsted
Country: Germany
Code: 7092
Language: English
Year Published: 2014
No. of pages: 256
Illustrations: 300 Color Illustrations. 266 B&W Illustrations.
Size: 12”x 9 1/2”
Weight: 5.00
Price: 110.00
The name of Hans J. Wegner (1914-2007) is inseparable from his unrivalled chairs, which have helped Danish design achieve international recognition. Any fan of design has his or her favorite among Wegner's approximately 500 creations, and there is hardly an interior design magazine that has not included an illustration of his elegant China Chair (1943) or Y Chair (1950). Even John F. Kennedy sat on the Round Chair, now known simply as The Chair (1949). Trained as a furniture maker, Wegner typically made his prototypes by hand, using traditional joinery techniques such as tongue-and-groove or finger joints. In the process, he often pushed the limitations of wood, giving his designs an unequaled elegance. Their beauty was matched by their practicality: He considered comfort and ergonomics to be equally as important as appearance. Despite his concern for functionality, his personality and sense of humor also shone through his works, as evidenced by his splendid Peacock Chair (1947) or the masculine Ox Chair (1960), available with or without horns.