Finn Juhl by Onecollection - 2016

F I N N J U H LBY ONECOLLECTION®

ONE CANNOT CREATE HAPPINESS

WITH BEAUTIFUL OBJECTS,

BUT ONE CAN SPOIL

QUITE A LOT OF HAPPINESS

WITH BAD ONES

FINN JUHL

F I N N J U H LF I N N J U H L

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ARTWORK FOR THE LIVING BODY

Finn Juhl was hugely inspired by both modernism in art and functionalism in architecture. His genius was cross-pollinating these two fields and thus creating a completely new artistic idiom. Like sculptures, Juhl’s designs are created to stand freely in a room. At the same time, they are developed with a playful insight into the practical function of every detail. This quickly becomes apparent as soon as you sit down in one of his sofas or chairs. They are fastidiously created to support and hold a human body, and surprisingly comfortable whether you sit upright or lie down with your feet thrown up. Look at the 57 Sofa with its built-in elbow-room, for instance. It will support you in whatever position you choose. Juhl’s shapes are always light with a dynamic twist. In other words, this is furniture for living in, not living with.

A JOYFUL UNIVERSE

Venturing into Finn Juhl’s furniture universe is like embarking on a joyful journey. There are constantly new surprises waiting around the corner, both in terms of overall shapes and aesthetics as well as daring design detail. To Onecollection, the journey began in 1998, when Juhl’s widow, Hanne Wilhelm Hansen, contacted us with her wish to produce a single 57 Sofa. This was the beginning of a friendly partnership, which culminated in 2001 when she trusted us with the world-wide production rights of his furniture. Exploring Juhl’s furniture universe is a constant adventure. We produce his designs in a modern reality - but with the same values and strict demands for quality that he had in the originals. Re-launching means that more Finn Juhl designs can reach a large and dedicated audience world-wide. Now, when time has finally caught up with Finn Juhl’s pioneering ideas, his furniture can fulfil its potential and create joy to its users.


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FINN JUHL IN SHORT

Finn Juhl was born on January 30th 1912 in Copenhagen. He wanted to study art history, but his father wouldn’t allow it. Instead, Juhl enrolled at the Department of Architecture at the Royal Academy of Arts in Copenhagen. Here, he studied under some of the most influential functionalists of his time, including the great architect Vilhelm Lauritzen, who hired him at his own studio in 1934 before Juhl had even graduated. Juhl never finished his studies, and later in life he always described himself as a self-taught furniture designer.

One of the international highlights of Juhl’s career was designing the complete interior of the Trusteeship Council Chamber at the UN head-quarters in New York between 1951 and 52. His sculptural furniture is widely appreciated all over the world. Juhl is still seen today as the father of the Danish Modern design trend in the United States in the 1950’s. At his death on May 17th 1989, Finn Juhl was an award-winning and highly respected international furniture artist.


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KUNSTVÆRKER TIL DEN LEVENDE KROP

Finn Juhl lod sig inspirere af samtidens moderne kunst, og med afsæt i funktionalismen, skabte han et helt nyt kunstnerisk formsprog. Møblerne møder øjet som skulpturer; de er skabt til at stå frit i rummet. Men de er samtidig skabt med en legende indlevelse i tingenes praktiske funktio-ner. Det mærkes tydeligt, når man sætter sig i en af hans sofaer eller stole. De er tænkt og skabt til at støtte og holde en levende krop, og de er overraskende komfortable - uanset om man sidder ret op og ned eller slænger sig, eventuelt med benene placeret over armlænene. Formerne understøt-ter bevægelse - og går samtidig meget længere i sit udtryk end selve funktionen. Det er ganske enkelt møbler, man lever i – og ikke bare med. Som fx 57-sofaen, hvor der bogstavelig talt er albueplads i hjørnerne. Her finder man støtte, uanset om man læner sig op ad ryggen - eller sidder med fødderne oppe, med ryggen hvilende mod armlænet.

GENOPDAG ET GLÆDESFYLDT UNIVERS

At begive sig ind i Finn Juhls møbelunivers er en glædesfyldt rejse. Der er hele tiden nyt at opleve, både i forhold til de overordnede former og funktioner - og ned i de mindste detaljer. For Onecollection begyndte denne rejse i 1998, da Finn Juhls enke, Hanne Wilhelm Hansen, kontaktede os med et ønske om at få produceret en 57-sofa. Det blev indledningen til et venskabe-ligt samarbejde, der kulminerede i år 2001, da Hanne Wilhelm Hansen overdrog rettighederne til produktion af Finn Juhls møbler til Onecollection. Arbejdet med Finn Juhls møbler er fortsat en spændende rejse for Onecollection, der producerer møblerne til brug i en moderne virkelighed - men med samme værdier og kvalitet, som de oprindelige. Relanceringen betyder, at flere af Finn Juhls design finder vej til et stort og dedikeret publikum over hele verden, nu hvor tiden er moden til dem.


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KORT OM FINN JUHL

Finn Juhl blev født den 30. januar 1912 i København. Han ønskede at læse kunsthistorie, men hans far var imod. Så Finn Juhl begyndte i stedet på uddannelsen til bygningsarkitekt ved Kunstakademiet i København. Her mødte han tidens mest indflydelsesrige funktionalister, blandt dem arkitekt Vilhelm Lauritzen, som ansatte ham i 1934. Efterhånden tog arbejdet al tiden fra studierne, og Juhl fik aldrig afsluttet sine studier. Han omtalte sig sidenhen altid som selvlært møbelformgiver.

Et af de internationale højdepunkter i hans karriere var designet af hele interiøret til FN’s Formynderskabsrådssal i 1951-52. Finn Juhls skulpturelle møbler værdsættes verden over - og han regnes i dag som faderfiguren i udviklingen af “Danish Modern” i 1950’ernes USA. Ved sin død den 17. maj 1989 havde Finn Juhl i sin karriere opnået at blive en prisvindende og højt respekteret international møbelkunstner.

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The sculptural chair fits seamlessly into most modern interior styles and works particularly well together with the Pelican Table and its close relative, the Poet Sofa from 1941.

The Pelican Chair is produced in two versions - with or without buttons. It is manufactured with a loose cushion and a hand sewn upholstery available in woolen fabric or leather. The legs are available in oak, walnut, teak and black stain.

PELIKAN STOL, 1940

Finn Juhls store kærlighed til den frie og skulpturelle kunst afspejler sig tydeligt i Pelikanen. Den overpolstrede lænestol er vel nok det af Finn Juhls møbler, der var mest forud for sin tid. Da den blev præsenteret på Snedkerlaugets udstilling i 1940, stak den ud med sine aparte former og tykke ben.

Der blev kun produceret ganske få eksem-plarer, og stolen gik nærmest i glemmebogen - indtil Onecollection genopdagede den og valgte at relancere den i 2001.

Stolens karakteristiske bløde, organiske form er som en krop, der holder om kroppen. Man sætter sig - og får et venligt kram. Som mange af Finn Juhls senere værker indbyder Pelikanen også til flere behagelige siddestil-linger. Den skulpturelle stol passer godt til nutidens interiører – og står helt perfekt sammen med Pelikanbordet, tegnet samme år, og sin nære slægtning Poet-sofaen, fra 1941.

Pelikan-stolen produceres i to versioner – en med og en uden knapper. Den leveres med en løs hynde og er med håndsyet betræk af uld eller læder, der fås i forskellige farver. Benene fås i eg, valnød, teak samt sortbejdset.

PELICAN CHAIR, 1940

In no other design is Finn Juhl’s fascination for surrealism more apparent than in the Pelican Chair. Of all Juhl’s many designs, the Pelican was probably also the one, which was most ahead of its time. When it was pre-sented at the Copenhagen Cabinetmakers’ Guild Exhibition in 1940, it stood out with its unusual shapes and sturdy legs.

Very few were manufactured and the chair was almost forgotten - until Onecollection redis-covered and re-launched the chair in 2001.

The characteristic soft and organic shape is almost like a body holding a body. When you sit down, the chair practically gives you a friendly hug. Like many of Juhl’s later designs, the chair invites several comfortable sitting positions.

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P E L I C A N C H A I R

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”PRESUMABLY, THE CREATIVE CAPABILITIES OF A

CRAFTSMAN ARE THE SAME AS THOSE OF A SCULP-

TOR. A CHAIR IS NOT JUST AN INDUSTRIAL PRODUCT

IN A SPACE. IT BECOMES FORM AND SPACE ITSELF.”

FINN JUHL

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PELIKAN BORD, 1940.

Den eneste kendte udgave af dette bord blev fremvist sammen med Pelikanstolene på snedkerlaugets udstilling i besættelsesåret 1940 og blev, så vidt vi ved, aldrig senere sat i produktion. Både Pelikanstolen og Pelikanbordet er eminente eksempler på Finn Juhls åndsslægtskab med moderne billed-kunstnere fra hans samtid. Han håndplukke-de særlige kunstværker og viste dem sammen med sine møbler ved udstillingerne.

Der findes ingen tegning af bordet, kun et billede fra laugsudstillingen i 1940, hvor det er fotograferet sammen med to Pelikanstole. Da bordet pludselig dukkede op i et auktions-katalog i Paris, næsten 75 år efter at det var vist første gang, kunne bordets størrelse og dimension endelig fastlægges.

Pelikanbordet fremstilles i dag i teak, eg, valnød, oregon pine og sortbejdset.

PELICAN TABLE, 1940.

The only known version of this table was shown together with the Pelican Chairs at the Copenhagen Cabinetmakers’ Guild Exhibition in 1940. As far as we know, it was never produced again. Both the Pelican Chair and the Pelican Table are exceptional exam-ples of Juhl’s spiritual kinship with modern art. He hand-picked particular artefacts, which were exhibited together with his furniture at the exhibition.

No drawing of the table exists - only a photograph of the table from the exhibition together with the two Pelican Chairs. When the original table suddenly re-appeared at an auction in Paris almost 75 years later, the accurate dimensions and measurements of the table could finally be determined.

Today, the Pelican Table is manufactured in teak, oak, walnut, oregon pine or black stain.

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POET SOFA, 1941

Den lille topersoners sofa blev vist på Snedkerlaugsudstillingen i 1941, og bør betragtes som en videreudvikling af Pelikanstolen fra året før. Polstringen er - efter tidens forhold - særdeles slank, og følger Juhls idé om at skabe gode funktionelle møbler, som kan bruges i små lejligheder.

Poet-sofaen er også et af Finn Juhls eksperi-menter, som han tegnede til sit eget hjem. På laugsudstillingen havde Finn Juhl ophængt et par gipsrelieffer af kunstneren Sigurjón Ólafsson, der angav slægtsskabet til samtidens kunst. Sofaen er som en omfavnende krop til to personer, der sidder umådeligt godt - men også så tæt, at man let kommer til at trække på smilebåndet.

Den lille sofa fik først sit navn i 1959, da den optrådte i en populær tegneseriestribe i Politiken, skabt af Jørgen Mogensen, ved navn ”Poeten og Lillemor”. Den handlede om en ung digter, der - ofte liggende på en bestemt sofa - reflekterer over livets tildragelser.

Poet sofaen leveres i samme udførsel som Pelikanstolen.

POET SOFA, 1941

This small two-seater was first shown at the Copenhagen Cabinetmakers’ Guild Exhibition in 1941 and should be seen as a natural progression from the Pelican Chair from the previous year. The upholstery is very slim compared to what was the norm at the time and the result of Juhl’s ambition to create functional furniture for smaller apartments.

The Poet Sofa is also one of Juhl’s experiments for his own home. At the Guild Exhibition, the sofa was shown next to a couple of plaster reliefs by artist Sigurjón Ólafsson. In this way, he indicated the link between furniture and sculpture. The small sofa is like a very comfort-able embrace for two people, who will be sitting very close.

The small sofa got its name much later, in 1959, when a very popular Danish cartoonist used the sofa as the place where his protago-nist would withdraw to contemplate the intricacies of life.

The Poet Sofa is available in the same execu-tion as the Pelican Chair.

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P O E T S O FA

Photo: Andreas Weiss

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P O E T S O FA

Copyright: Spessi - Sigurjón Ólafsson Museum

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45 STOL, 1945

45-stolen er et mesterværk - og ikonisk for Finn Juhls møbelkunst. Stolen blev første gang præsenteret på Snedkerlaugets udstilling i 1945, og er af den japanske stolesamler, Mr. Noritsugu Oda, blevet kaldt “alle moderne stoles moder”.

Finn Juhl skabte med denne elegante lænestol et hidtil uset stoledesign, idet han adskilte det bærende stel fra den bårne krop. Resultatet blev et rent, stærkt og yderst elegant formsprog.

Mellemrummet mellem rammen og sædet skaber en lethed, som i kombination med de organiske former og sublime detaljer, tilføjer en unik skønhed og svævende elegance. Stolen appellerer til alle sanser og vækker behag for både øje og krop.

45-stolen leveres i teak, eg og valnød, polstret med enten uld eller læder efter ønske.

45 CHAIR, 1945

The 45 Chair is a true masterpiece, which has become symbolic for Finn Juhl’s design genius.The chair was presented at the Copenhagen Cabinetmaker’s Guild Exhibition in 1945 and has been called “the mother of all modern chairs” by the Japanese professor and chair expert Mr. Noritsugu Oda.

This chair was one of the first to break the current tradition for armchairs by freeing the upholstered areas from the wooden frame. With the 45 Chair, Juhl created the elegant easy chair that he had been working towards for many years. The result was a clean, strong and elegant chair - and a quiet revolution.

The space between the frame and the seat creates a lightness which, combined with its organic shape and sublime detailing, creates a unique beauty. The chair is also extremely comfortable and thus appeals to all senses.

The 45 Chair is manufactured in teak, oak and walnut with upholstery in wool or leather.

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”FINN JUHL IS A MASTERLY

FURNITURE DESIGNER, WHOSE

TALENT LIES IN COMBINING

COMFORT, CONSTRUCTION AND

STYLE IN HIS DESIGN”

EDGAR KAUFMANN JR.

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Photo: Alexis Toureau

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Han arbejdede indefra og ud - på samme måde, som de surrealistiske kunstnere - og var optaget af den humanistiske frigjorthed, som kunsten afspejlede.

I lighed med Pelikanstolen er 46-sofaen også en krop til kroppen. Denne krop huser bare to personer, der siddende i sofaen bliver en organisk helhed.

Finn Juhl blev i sin samtid stærkt kritiseret for det kunstneriske formsprog i sine møbler, som man nedladende kaldte for bl.a. ”trætte hvalrosser”. I nutidens moderne virkelighed er 46-sofaen et hyggeligt og charmerende indslag i enhver indretning – klassisk eller moderne.

Sofaen er håndværksmæssigt et mesterligt bygget møbel på massiv træramme, med fjederindlæg i sædet og håndsyet overalt. Den leveres med stof eller læder. Ben i teak, eg eller valnød.

46 SOFA, 1946

As the name implies, this sofa was made in 1946 and manufactured by the upholsterer Carl Brørup’s workshop in Copenhagen.

As a young person, Finn Juhl had a dream of becoming an art historian. During the 1930’s and 1940’s he had been strongly influenced by modern art, which was the main reason why his designs had organic forms with almost human features. He worked from the core outwards in the same way as surrealist artists, and was inspired by the freedom from convention reflected in art.

Similar to the Pelican Chair, the 46 Sofa is also a “body for the body”. Only this “body” can accommodate two people who become one organic unit. Juhl’s artistic license was heavily critisised at the time as some critics scornfully called his furniture “tired walruses”.

Seen by today’s eyes, the 46 Sofa is a charming and cosy addition to any interior style - classic as well as modern.

The sofa is masterly built, consisting of a solid wooden frame with springs in the seat and entirely hand-sewn upholstery. It is available in both fabric and leather with teak, oak or walnut legs.

46 SOFA, 1946

46-sofaen er, som navnet angiver, tegnet i 1946 for polstermester Carl Brørup i Blågårdsgade på Nørrebro i København.

Finn Juhl havde haft en drøm om at blive kunsthistoriker og var i 1930’erne og 40’erne stærkt inspireret af den frie fabule-rende kunst, hvilket er grunden til, at hans møbler fik organiske former med menneske-lig karakter.

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ØJEBORD, 1948

Dette øjeformede trebenede sofabord er oprindeligt tegnet til at matche den lille topersoners 46-sofa.

Bordets form passer ind i hulningen på sofaens forkant, således at bord og sofa danner en designmæssig helhed.

Men det lille bord, med den karakteristiske øjeform, er også en perfekt ledsager til Poet-sofaen og passer til ethvert interiør og stil - og gerne som et fritstående bord til en lampe, en buket blomster eller en stak bøger.

Øjebordet, med de behagelige afrundede massive kantlister, leveres i mange kombina-tioner. Træsorterne er eg, valnød eller teak. Bordplader er i enten finér, hvid- eller sort højglanslaminat.

EYE TABLE, 1948

This eye-shaped, three-legged table was originally designed to match the 46 two-seater sofa.

The shape of the table fits perfectly with the curve of the sofa, in this way creating a design unity between the two.

However, the small table with its characteris-tic organic eye shape is also a perfect complement to for instance the Poet Sofa and fits almost any design style - particularly as a side table for a lamp, a vase of flowers or a pile of books.

The Eye Table is manufactured in oak, walnut or teak with a glossy white, black or veenered table top.

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HØVDINGESTOL, 1949

Høvdingestolen er et af Finn Juhls absolutte mesterværker og repræsenterer højdepunktet i hans karriere som møbeldesigner. Ved præsentationen i 1949 markerede den en fornyelse i dansk møbelkunst, og står i dag som en af de vigtigste eksponenter for ”Danish Modern”-bevægelsens udbredelse i USA i 1950’erne. Af den grund bliver Finn Juhl ofte betragtet som faderfiguren for Danish Design.

Inspireret af samtidskunsten og med sine organiske former frigjorde Høvdingestolen sig fra den traditionsbundne danske møbeltradi-tion og den strenge funktionalisme, med sin form, konstruktion og materialevalg.

Danish Design Award Classic 2012 gik til Høvdingestolen. Juryen sagde: ”Høvdingestolen står i dag som en inspiration for en ny generation af møbelkunstnere og som symbol på, at fokus på ultimativ kvalitet, internationalt format og vilje til at bryde tradition, kan være vejen til at gøre en forskel som designer”.

CHIEFTAIN CHAIR, 1949

The Chieftain Chair is one of Finn Juhl’s absolute masterpieces, representing the peak of his career as a furniture designer. At its introduction in 1949, the chair marked a renewal of the Danish furniture design tradition and today it is seen as one of the most important exponents of the Danish Modern movement in the USA in the 1950’s. For this reason, Finn Juhl is often seen as one of the fathers of Danish Modern design.

Inspired by modern art, the Chieftain Chair with its organic shapes liberated itself from traditional Danish furniture design and strict functionalism in both shape, construction and materials.

In 2012, the Chieftain Chair won the Danish Design Award Classic. The jury said in its motivation: ”Today, the Chieftain Chair stands as an inspiration to a new generation of furniture designers and as proof that an attention to quality, international calibre and a will to break away from tradition can pave the road to making a difference as a designer”.

C H I E F TA I N C H A I R

HIS FORMS ARE MASTERFUL, NOW AS WHEN THEY WERE NEW.

THEY ARE CAPABLE OF A PLENITUDE OF EMBODIMENTS STILL

UNEXPLORED. JUHL IS NO PERFORMER, HE IS A CREATOR. WE

NEED MORE OF HIM.

EDGAR KAUFMANN JR.

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“ART HAS ALWAYS BEEN MY MAIN

SOURCE OF INSPIRATION. I AM

FASCINATED BY SHAPES, WHICH

DEFIED GRAVITY AND CREATED A

VISUAL LIGHTNESS.”

FINN JUHL


5 5Photo: Andreas Weiss


ABOUT THE CHIEFTAIN

Finn Juhl reached his absolute peak as a pioneering furniture designer with the imposing Chieftain Chair at the 1949 Guild Exhibition. The chair is probably the most well known of all his chairs and a powerful design, which not only dominates in size and extravagance, but which also needs a lot of space around it to do itself justice. It is in true a proper Chieftain and it is with good reason it has been called an icon of Danish furniture design.

Finn Juhl was however quite modest about the development process of the chair, and did not have any expectations of its greatness. Finn Juhl tells:

“ I started drawing the Chieftain Chair one day in the spring 1949. I was at home, and I started drawing around 10 am with a five cm sketch – just four vertical lines connected with ‘something’ and by two or three o’clock in the morning I had painted it. But in reality I don’t know how long it took me to design that chair. Perhaps I had a vague idea for some time that I wanted to design something bigger. There had been so many small, handy chairs, so I probably felt like designing something a bit more pompous…”

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HØVDINGESOFA, 1949

Sammen med den store Høvdingestol, præsenterede Finn Juhl og snedkermester Niels Vodder i 1949 også Høvdingesofaen.

Mens Høvdingestolen øjeblikkeligt kom i produktion, blev Høvdingesofaen kun fremstillet i et enkelt eksemplar.

På Designmuseum Danmark i København, hvor snedkerlaugsudstillingerne oprindeligt fandt sted, er dette eksemplar stadig en del af museets permanente samling af moderne dansk møbeldesign.

Onecollection fremstiller i dag dette imposante møbel i en meget eksklusiv snedkerkvalitet i træsorterne teak eller valnød. Sofaen håndpolstres i Danmark, og der anvendes kun ekstra store huder af fineste læderkvalitet.

CHIEFTAIN SOFA, 1949

In conjunction with the imposing Chieftain Chair, Finn Juhl and cabinetmaker Niels Vodder also introduced the Chieftain Sofa in 1949.

While the Chieftain Chair immediately went into production, the Chieftain Sofa was only produced in one single issue.

At Designmuseum Danmark in Copenhagen where the Guild Exhibitions originally took place, the sofa is still part of the museum’s permanent collection of modern Danish furniture.

Today, Onecollection manufactures this extraordinary piece of furniture in a very exclusive handcrafted version in teak or walnut. The sofa is upholstered by hand in Denmark from extra large hides of the finest quality.

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BUTTERFLY BORD, 1949

Butterfly-bordet, som Finn Juhl tegnede i 1949, er et meget sjældent bord, som næsten aldrig har været produceret. Sammen med den ikoniske Høvdingestol og -sofa samt Ægypterstolen, var Butterfly-bordet en del af den berømte laugsudstilling i 1949 på snedkermester Niels Vodders stand på Kunstindustrimuseet.

Bordet er meget delikat i sit udtryk, udført som oprindeligt i massivt teaktræ og med klap i oregonpine med indlagt rund messingplade.

Det trebenede organisk formede sofabord er typisk for Finn Juhl, med pirrende skønne detaljer og ypperligt snedkerhåndværk, der hæver bordet op i en liga helt for sig.

BUTTERFLY TABLE, 1949

The Butterfly Table, which Finn Juhl designed in 1949, is a very rare table, which was practically never produced at the time. Together with the iconic Chieftain Chair, Chieftain Sofa and Egyptian Chair, the Butterfly Table was shown at the now famous 1949 Guild Exhibition on behalf of cabinet-maker Niels Vodder.

The very unconventional table looks decep-tively delicate and is today produced like the original in solid teak with a leaf in Oregon Pine and a circular brass inlay.

The three-legged, organically shaped coffee table is a very typical Finn Juhl design and a testament to detailed beauty and craftsmanship.

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EGYPTIAN CHAIR, 1949

Design critics have described Finn Juhl’s Egyptian Chair as a miraculous mix of ancient Egyptian design principles, modern rhythms and aerodynamics.

The chair was first shown at the 1949 Copenhagen Cabinetmakers’ Guild Exhibition together with the acclaimed Chieftain Chair. Both chairs are excellent examples of Juhl’s genius in his field. It was on the back of this particular exhibition that Juhl had his international break-through and subsequently became known as one of the fathers of the famous Danish Modern design style.

Both the Egyptian Chair and the Chieftain Chair are excellent examples of Juhl’s characteristic way of achieving a “room within a room”.

Many years later, Juhl himself spoke about visiting the Louvre Museum in Paris where he became so enthralled by an antique Epyptian chair, that he “stole” its construction when he designed his own Egyptian Chair.

Onecollection’s re-launched Egyptian Chair is characterised by its unique craftsmanship. It is produced in walnut or teak with leather or fabric upholstery.

ÆGYPTER STOL, 1949

Designanmeldere har beskrevet Finn Juhls Ægypterstol som en mirakuløs blanding af antikke Ægyptiske designprincipper, moder-ne rytmer og aerodynamik.

Stolen debuterede i 1949 på Snedkerlaugets udstilling sammen med den sidenhen så berømte Høvdingestol. Med både Ægypterstolen og Høvdingestolen skaber Finn Juhl sit karakteristiske rum i rummet.

Begge stole er fremragende eksempler på Finn Juhls geni inden for sit felt. Det var på baggrund af netop denne udstilling i 1949, at Finn Juhl fik sit internationale gennembrud - og siden blev anerkendt som en af ophavs-mændene til den berømte Danish Modern designstil.

Mange år senere, fortalte Finn Juhl selv om, hvordan han under et besøg på Louvre-museet i Paris blev så betaget af en antik ægyptisk stol, at han ”stjal” dens konstruk-tion, da han tegnede Ægypterstolen.

Unikt håndværk karakteriserer Onecollections relancerede Ægypterstol, der leveres i valnød eller teak, polstret med læder eller stof.

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SILVER TABLE, 1948

The oval dining or conference table can be extended with two extra leaves, while the frame stays in the same position. The table was originally crafted by cabinetmaker Niels Vodder in Brazilian rosewood for the Copenhagen Cabinetmakers’ Guild Exhibition in 1948. It was subsequently made in two different wooden materials with a darker top and lighter frame.

The table top has 30 inlays of Sterling silver, which inspired its nick name the Judas Table. The table is classic and simple in its shape but also exclusive and extravagant because of its fine detail - not least its silver inlays, which are strewn across the table top like a blanket of stars.

However, the position of the silver inlays is far from coincidental. They clearly indicate whether the table seats four, six, eight or ten people.

With the extra two leaves the table seats 14 people. The table is available entirely in walnut as in the original or with a teak table top on an oak frame. It is also available without the silver inlays.

SØLVBORD, 1948

Ovalt spise- og konferencebord med udtræk, der forlænger bordet med to plader, men hvor understellet bliver stående. Bordet er oprinde-ligt udført af snedkermester Niels Vodder og udført i Rio-palisander til Snedkerlaugets udstilling i 1948. Siden er det ofte set i en kombination af to træsorter med mørk bordplade med lyst understel.

I bordpladen er nedfældet 30 plaketter af sterlingsølv. Af denne grund er bordet også kaldet ”Judasbordet”. Det er enkelt og klassisk i sin form, men også ekstravagant på grund af de skønne detaljer - og ikke mindst sølvplaket-terne, der er spredt ud over bordpladen, som en stjernehimmel.

Placeringen af sølvplaketterne i de fire forskellige størrelser er ikke tilfældig. De opdeler bordet i kuverter til enten 4, 6, 8 eller 10 personer. Med de to plader er der plads til 14 kuverter.

Bordet leveres som originalt - udført helt i valnød, eller med teakplade og understel i eg. Tillige kan bordet leveres uden sølvplaketter.

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BAKER SOFA, 1951

Edgar Kaufmann Jr., a prolific art collector and then director of the Design Department at the Museum of Modern Art in New York, introduced Finn Juhl to the American design world. During a trip to Denmark, he became so fascinated by Juhl’s artistic take on furniture design that he invited him to the United States.

In 1949, Kaufmann Jr. wrote an article about Juhl in the magazine Interiors, which led to Hollis Baker, a furniture manufacturer from Michigan, inviting Juhl to design a modern furniture collection for him. This chain of events was the beginning of what became known as Danish Modern, and a boom for Danish design in the United States.

The sculptural Baker Sofa with its two-piece back became Juhl’s American debut.The Baker Sofa is masterly manufactured with a wooden frame in oak or walnut. The upholstery is 100% hand sewn in fabric or leather with springs in the cushion, providing maximum comfort and durability. This exclusive sofa is built to please its owner for generations to come.

BAKER SOFA, 1951

Den daværende kunstsamler og direktør hos MoMa i New York, Edgar Kaufmann Jr, introducerede Finn Juhl til den amerikanske designscene. Under en rejse til Danmark var han blevet så fascineret af Finn Juhls kunstneri-ske formsprog, at han inviterede ham til USA.

I 1949 skrev Kaufmann Jr. en artikel om Finn Juhl i magasinet ”Interiors”.

Dette medførte en henvendelse fra Mr. Hollis Baker – en møbelfabrikant i Michigan, der spurgte Juhl, om han ville tegne en moderne møbelkollektion for ham. Dette blev optakten til ”Danish Modern” - og et sandt eksport-eventyr for dansk design i USA.

Den skulpturelle Baker-sofa - med den todelte ryg - blev det første Finn Juhl-møbel produceret af Baker Furniture. I 2001 endte samarbejdet, da Finn Juhls enke Hanne Wilhelm Hansen overlod enerettighederne til Onecollection.

Baker-sofaen er mesterligt udført, med et organisk formet træstel i eg eller valnød. Polstringen er rent håndarbejde i stof eller læder, med springindlæg i den løse sædehyn-de, der giver maksimal komfort og holdbar-hed. Dette eksklusive møbel er bygget til glæde for denne og fremtidige generationer.

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”IT IS SO OBVIOUS THAT FURNITURE SHOULD BE

USED. IF NOT, I HAVE BEEN SERIOUSLY WRONG.

TO ME, IT IS SO OBVIOUS THAT IT ALSO NEEDS AN

ARTISTIC DIMENSION, WHICH MAKES IT EXCITING

AND IN HARMONY WITH ITS SURROUNDINGS. HOW-

EVER, FURNITURE WAS NOT CREATED ONLY TO BE

LOOKED AT. FURNITURE IS AN APPLIED ART, WHICH

IS NECESSARY FOR PEOPLE IN A HOME, AN OFFICE

OR PUBLIC SPACES”.

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COCKTAIL BORD, 1951

Cocktailbordet er tegnet til Baker Furniture i USA for at matche den skulpturelle Baker-sofa. I 1950’ernes USA bragede udviklingen afsted, og alt nyt kom derfra. Den nye overklasse gik til cocktail parties, og cocktails blev et hit - godt hjulpet at Hollywoods filmproduktioner. Finn Juhl blev meget imponeret af USA og den amerikanske ekstravagance, som han blev introduceret til gennem sine nye indflydelsesrige venner.

Det elegante trebenede sofabord er en videreudvikling af hans tidligere øjeformede borde, men alting i USA er som bekendt større. På trods af størrelsen, og på grund af dets organiske form, der er helt uden skarpe hjørner, tillader det fri bevægelighed rundt om bordet.

Cocktailbordet er i detaljer let og elegant med raffinerede opkanter, der er afbrudte i enderne. Bordet leveres i valnød og eg med bordplade i finér eller hvid højglans laminat.

COCKTAIL TABLE, 1951

Finn Juhl’s Cocktail Table was designed for Baker Furniture in the United States to match the sculptural Baker Sofa.

The economy was booming and prosperity rising in the USA during the 1950’s. The new upper classes and Hollywood made cocktail parties popular and Finn Juhl was readily impressed by this new American extrava-gance, which he experienced through his new and influential American friends.

The elegant three-legged coffee table is a further development of his earlier eye shaped tables, but as we know, everything had to be larger and bigger in America. Despite its size and thanks to its organic shape with no sharp corners, the table allows for free movement around it.

The Cocktail Table is light and elegant with refined design detail. The table is manufac-tured in walnut or oak with a veenered or white glossy table top.

C O C K TA I L TA B L E

”WHEN MY FURNITURE IS CALLED SCULP-

TURAL, IT IS IN RELATION TO HUMANS, WHO

ARE SCULPTURAL. BUT THAT DOES NOT MEAN

THAT YOU CAN TAKE A CAST OF A PERSON

AND CREATE A CHAIR FROM IT, BECAUSE YOU

NEED TO BE ABLE TO MOVE IN A CHAIR... JUST

LIKE IN A BED”.

FINN JUHL

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46 STOL, 1946/1953

Denne stol er en af de smukkeste stole fra Finn Juhls hånd, oprindeligt tegnet i 1946 til Snedkerlaugets udstilling, for snedkermester Niels Vodder. I 1953 modificerede Finn Juhl stolen i en enklere og mere aerodynamisk udgave for det daværende firma Bovirke. Det er denne udgave, Onecollection har relanceret.

Finn Juhl har med 1953-udgaven klart haft til hensigt at give stolen mere lethed ved, som på 45-stolen, at adskille det bærende fra det bårne. Og ligesom 45-stolen og Høvdingestolen er 46-stolen eksponent for noget af det ypperste inden for moderne dansk møbelkunst, der stadig fremstilles i en enestående håndværksmæssig kvalitet.

46-stolen leveres i eg, valnød og teak - med betræk af læder eller uldstof.

46 CHAIR, 1946/1953

This chair is an example of Finn Juhl’s most beautiful work. It was originally designed for the 1946 Copenhagen Cabinetmakers’ Guild Exhibition for master cabinetmaker Niels Vodder. In 1953, Juhl modified the chair into a simpler, more aerodynamic version for the furniture manufacturer Bovirke. It is this latter version, which Onecollection has re-launched.

In his second version, Finn Juhl clearly aimed at emphasizing the lightness of the chair by separating the carried and the carrying elements. Similarly to the Chieftain Chair and the 45-Chair, the 46-Chair represents the very best in modern Danish furniture design. Thanks to modern technology the re-launched version is manufactured in outstanding quality with stronger joints than the original.

The 46 Chair is manufactured in oak, walnut and teak with leather or wool upholstery.

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“ONE CANNOT CREATE HAPPINESS WITH BEAUTIFUL OBJECTS, BUT

ONE CAN SPOIL QUITE A LOT OF HAPPINESS WITH BAD ONES” -

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KAUFMANN TABLE, 1950

The Kaufmann Table was originally designed for Finn Juhl’s own private home, just like many other of his iconic designs. The table is in a league of its own with an unusually refined edge profile which lends it the illusion that the large table top almost floats like a wing above the elegant frame.

Juhl deliberately worked with a mix of wooden materials. A dark table top in walnut and a lighter frame in oak very clearly separates the carried and the carrying elements. The table’s many design details have both a practical and a visual function.

The brass detail on the crossbar visually gives the table an exclusive look and at the same time protects the wood against shoe polish - if one should be tempted to rest one’s legs on it.

The table is manufactured in walnut and oak, and almost entirely crafted by hand. Since the table was never given a name by Juhl himself, Onecollection decided to dedicate it to Juhl’s lifelong friend, the previous director at MoMa, Edgar Kaufmann Jr., who “dis-covered” Finn Juhl and became instrumental in launching his international career.

KAUFMANN BORD, 1950

Finn Juhl tegnede det store arbejdsbord til sit eget hjem på Kratvænget, som han gjorde med mange andre af sine frembringelser. Det er et bord helt i særklasse, med en ultra raffineret kantprofil, der får den ellers solide bordplade til at svæve, som en vinge i luften, over det elegante bordstel.

Finn Juhl har bevidst arbejdet med forskellige træsorter. En mørk bordplade i valnød og et lyst understel i eg, for at fremhæve det bærende og det bårne. Bordets detaljerigdom

er - typisk for Finn Juhl - både sanseligt og praktisk begrundet. Den delikate kantprofil, der efter en lille hulning, passende til blommen på en finger, ender i en dråbeform, er en sand fryd at berøre.

Den rundede messingliste, der er lagt ind i tværsargen, er både praktisk og eksklusiv - og beskytter det lyse træ mod skosværte, hvis nogen skulle få lyst til at hvile fødderne på sargen.

Bordet er perfekt udført i valnød og eg - og næsten udelukkende håndlavet. Da bordet aldrig er navngivet, har vi tilladt os at dedikere det til Finn Juhls ven, den tidligere direktør hos MoMa, Edgar Kaufmann Jr., som ”opdagede” Finn Juhl og beredte ham vejen for hans internationale karriere.

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KARMSTOL, 1953

Finn Juhl tegnede i 1953 en enkel og elegant stol for firmaet Bovirke. Nu har Onecollection relanceret stolen, der er særdeles egnet som spisebordsstol til private hjem såvel som til sektoren for hotel, restaurant og konference.

Karmstolen er særdeles komfortabel og tillader mange siddemuligheder, hvilket er typisk for Finn Juhls møbler. Man kan endda sidde helt omvendt på stolen, således at man bekvemt hviler armene på karmen.

Karmstolen er udført i eg med ryg og karm i enten teak eller valnød. Sædet er polstretmed stof eller læder. Endvidere fås en sortbejdset variant af stolen.

READING CHAIR, 1953

In 1953, Finn Juhl designed a simple and elegant dining chair for the furniture manufacturer Bovirke, which is as suitable for private homes as for hotels, restaurants and conference facilities.

Juhl designed his Reading Chair as both a dining chair and a reading chair, which is equally comfortable whether you choose to sit facing the back or the front. This might sound both odd and complicated, but thanks to Juhl’s genius, the result was a simple, unpretentious yet thoroughly well thought through and visually pleasing chair.

The Reading Chair is manufactured in oak with a back of either walnut or teak. The seat is upholstered in either fabric or leather. The chair is also available in black stain.

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NYHAVN SPISEBORD, 1953

Onecollection har over en periode relanceret mange af Finn Juhls enkle og smukke designs fra 1950’erne, der gerne er kombineret med farver fra Goethes farvecirkel - som f.eks. bakkerne i skænken eller arbejdsbordet.

Et fint eksempel er Nyhavn-spisebordet med to klapper, udført i sort linoleum eller fineret oliebehandlet eg, valnød eller teak. Ben-stellet i stålrør leveres lakeret i orange, lys blå eller sort med tæer i træ. Et specielt beslag tillader, at klapperne enten kan tages af eller hænge lodret ned i begge ender.

Der er tale om et helt specielt bord, der på trods af sit enkle ydre har masser af karakter som følge af Finn Juhls sans for både detaljen og funktionaliteten.

Bordet måler 170 x 85 cm, og med to klapper: 278 x 85 cm.

NYHAVN DINING TABLE, 1953

Onecollection has re-launched many of Finn Juhl’s simple and beautiful designs from the 1950’s which are often combined with shades from Goethe’s colour wheel, like the trays in his sideboard or his desk, for instance.

Another fine example from this time is his Nyhavn drop leaf dining table in black linoleum or oil-treated oak, walnut or teak veneer. Its steel legs are manufactured in orange, light blue or black with wooden toes. Special brackets allow for the leaves to be taken off or to hang vertically at both ends.

This is a unique table with a lot of character despite its simple appearance, thanks to Finn Juhl’s sense of detail and functionality.

The table measures 170 x 85 cm / 278 x 85 cm with leaves.

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108 STOL, 1946

Finn Juhl er aldrig kedelig i sit udtryk. Der sker altid noget spændende og uforudsigeligt i forhold til det forventede. Finn Juhl sagde selv, at der ligger en afvigelse i detaljen. Således også i 108-stolen, som er en almin-delig spisebordsstol - og så alligevel ikke. Den forventede konstruktion er tilsidesat, og med de buede og vinklede sarge og sprosser gjort dynamisk, så stolen får bevægelse.

Finn Juhls filosofi om at adskille det bærende fra det bårne, og skabe rum og mellemrum, er her til fulde indfriet, og giver den polstrede og komfortable stol et let og luftigt udtryk. Typisk for Finn Juhl er stolen også smuk, set fra alle vinkler.

Stolen leveres i eg - natur eller sortbejdset - samt i oliebehandlet valnød. Polstres med stof eller læder.

108 CHAIR, 1946

Finn Juhl was never boring. To this day, his designs are always unconventional and there are often exciting things going on as he defies expectation. Juhl himself once said, that “the deviation is in the detail”. This is very much the case with his 108 Chair, which on the surface looks like any ordinary dining chair but a closer look reveals surprising details such as angled side bars and sliding cross bars, which add an unexpected movement and dynamic to the construction.

Juhl’s philosophy of separating the carried and the carrying elements and thus creating space is apparent in this chair, which, despite being both upholstered and very comfortable has managed to keep its lightness and be beautiful from all angles.

The chair is manufactured in natural or black stained oak or walnut, upholstered in leather or fabric.

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”THERE IS ALSO REFINEMENT IN THE

DIVERGENCE”.

FINN JUHL

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109 STOL, 1955

109-armstolen blev, ligesom 108-stolen, oprindeligt produceret af snedkermester Niels Vodder. Og det er netop armlænene, som Finn Juhl i denne model har givet en helt unik detaljering, som gør stolen både interessant og elegant.

Ud over den for Finn Juhl sædvanlige gode siddekomfort, er armlænene perfekt udfor-met til håndens anatomi med skarphed og rundinger, hvor de behøves - og med en lille hulning på spidsen, der passer nøjagtigt til tommelfingerblommen.

Stolen leveres i oliebehandlet valnød og passer perfekt som spisebords- eller konferencestol - og har helt åbenlyse kvaliteter som en elegant, komfortabel, men visuelt let stol til bl.a. hotel og restaurant.

Sæde og ryg polstres med stof eller læder efter ønske.

109 CHAIR, 1955

Just like its close relative, the 108 Chair, the 109 Chair was originally manufactured by cabinetmaker Niels Vodder. In this design, it is particularly the uniquely detailed armrests, which make this chair interesting and elegant.

Apart from the comfort that Finn Juhl is famous for, the armrests are almost inti-mately shaped to fit a hand with curves and angles at just the right places and a small hollowing at the tip, which perfectly fits the plum of a thumb.

The chair is manufactured in oiled walnut and the perfect dining or conference chair. Its elegant and comfortable qualities mean that the chair also easily lends itself to hotels and restaurants.

Seat and back are upholstered in fabric or leather.

Photo: MARIAGROUP

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The 57 Sofa is manufactured with a hand-made upholstery in fabric or leather and springs in the seat. Legs in burnished steel or stainless steel with wooden toes.

57 SOFA, 1957

Sofa model 57 blev vist første gang på en udstilling i Tivoli i København i 1957. Men der skulle gå mere end 40 år, før verden åbnede øjnene for dette ekstrava- gante møbel.

57-sofaen var det allerførste Finn Juhl-møbel, som Onecollection relancerede. Finn Juhls enke, musik- og teaterforlæggeren Hanne Wilhelm Hansen, ønskede, at denne sofa skulle genfremstilles til en udstilling af Finn Juhls møbler i anledning af 10-året for hans død. Derfor kontaktede hun Onecollection, der genskabte sofaen ud fra Finn Juhls tegningsmateriale. Dette blev starten på et fantastisk samarbejde med Hanne Wilhelm Hansen, der overlod

Onecollection enerettighederne til at relancere Finn Juhls møbelunivers, der i dag tæller mere en 40 modeller.57-sofaen leveres med håndsyet betræk i stof eller læder samt springmadrasindlæg i sædet. Ben i bruneret- eller rustfrit stål med tæer i træ.

57 SOFA, 1957

This sofa was exhibited for the first time in the Tivoli Gardens in Copenhagen in 1957. However, it took more than 40 years before this extravagant design was appreciated by a larger public.

The 57 Sofa was the very first of Finn Juhl’s designs that Onecollection re-launched. Finn Juhl’s widow, the music publisher Hanne Wilhelm Hansen wanted this sofa to be part of an exhibition to mark the tenth anniver-sary of Finn Juhl’s death. She therefore contacted Onecollection and commissioned a single issue of the sofa based on his drawings. This became the beginning of an amazing partnership with Hanne Wilhelm Hansen, who subsequently transferred the rights to manufacture Finn Juhl’s furniture to Onecollection. Today, our Finn Juhl portfolio counts more than 40 different re-launched Finn Juhl designs.

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ROSS SOFABORD, 1948

Finn Juhl tegnede en del af sine møbler som bestillingsopgaver, gerne i forbindelse med hans omfattende indretningsvirksomhed. Således er Ross-bordet et resultat af en bestilling i 1948 fra den kendte juraprofessor, Alf Ross.

Bordet er særdeles spændende. Det må have været meget utraditionelt og moderne i forhold til datidens møbelmodeller, med det spinkle stålstel og den nyreformede bordplade - med eller uden stålplade og indbygget blomstervase.

Bordet udføres i rustfrit stål med bordplade i teak, eg eller valnød.

ROSS COFFEE TABLE, 1948

A large share of Finn Juhl’s designs was commissioned work - often as part of his business as a renowned interior designer. The Ross Coffee Table was the result of a commis-sion in 1948 by the well-known Danish law professor Alf Ross.

The design is extremely exciting: its delicate steel frame, kidney-shaped top, steel inlay with a built-in vase must have been particu-larly unconventional and modern in its day.

The table is manufactured in stainless or stained steel with a wooden table top in teak, oak or walnut.

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JAPAN SERIES, 1953

Finn Juhl’s partnership with the furniture manufacturer France & Son resulted in a series of furniture, which suited industrial production and yet were was true to the 1950’s ideals of simple designs.

The most famous example of this co-opera-tion is probably the Japan Series from 1953, which consists of an armchair, a footstool, a two-seater sofa and a three-seater sofa.

The sublime minimalist simplicity of the series is a far cry from his earlier furniture designs and inspired by traditional Japanese building techniques. The solid horizontal backrest, resting on the slightly tapered legs, is a reference to a Japanese temple door. The backrest ends in a circular recess, adding an optical refined impression to great effect. That was very typical of Finn Juhl, who famously said that deviation is in the detail.

Even in this simple construction, Finn Juhl is true to his idea of emphasizing the difference between the carried and the carrying ele-ments by separating the backrest from the bearing frame by brackets in brass or steel. The Japan Series is produced in oak or walnut with hand-made upholstery.

JAPAN SERIE, 1953

For firmaet France & Søn tegnede Finn Juhl en række møbler til mere industriel produk-tion, som indfriede tidens krav om mere enkle møbeltyper. De mest kendte af disse er nok Japan-serien fra 1953, bestående af en lænestol, en skammel, en topersoners og en trepersoners sofa.

Seriens sublime enkelthed og minimalistiske formsprog ligger milevidt fra hans tidligere møbler, og drager paralleller til traditionel japansk byggeskik. Den tværliggende kraftige rygsprosse, der står på de let spidsende ben, minder om en japansk tempelport.

Rygsprossen afsluttes med en hulkehl, der giver et optisk raffinement med stor virkning – og er typisk for Finn Juhl, der netop sagde, at afvigelsen ligger i detaljen.

Men selv i denne enkle konstruktion fast-holder Finn Juhl sin idé om, at markere forskellen mellem det bærende og det bårne, ved at frigøre ryggen fra stellet med afstands-stykker i messing eller stål. Japanserien leveres i eg og valnød med håndsyet betræk.

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500-BORDE, 1958

Sammen med Japan-serien er denne serie sofaborde tegnet af Finn Juhl i 1958 for France & Søn. France & Søn var på det tidspunkt den førende danske producent af mere industrielt fremstillede møbler.

500-bordserien leveres i massiv eg, valnød og teak. Bordene repræsenterer en stil, som blev typisk for skandinaviske møbler i midten af det 20. århundrede.

500 TABLES, 1958

This series of coffee tables was designed by Finn Juhl for France & Son in 1958 just like the Japan series. At that time, France & Son was the leading Danish manufacturer of industrially produced furniture.

The 500 series is manufactured in solid oak, walnut or teak. These tables represent a style that became very typical for Scandinavian mid-century furniture.

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BAKKEBORD, 1965

Bakkebordet, som Finn Juhl tegnede i 1965, er en videreudvikling af hans berømte vendebakker, som i dag produceres af Architectmade.

Bakkebordet, som kan anvendes enkeltståen-de eller flere sammenstillede, er i realiteten et elegant tyndt trådstel i børstet rustfrit stål - med en løs bakke placeret ovenpå. Bakkerne er vendbare og udført med tynde kanter i teak eller valnød.

Pladerne er finerede eller med farvet høj-glanslaminat, der altid er hvide på den ene side, men kan vælges enten sort, lys blå eller lys grøn på den anden side.

TRAY TABLE, 1965

The Tray Table, which Finn Juhl designed in 1965, is a further development of his famous Turning Trays, which today are manufactured by Architectmade.

The Tray Table, which works well on its own as well as in a group, is in reality an elegant, thin frame in brushed steel with a tray. The trays are manufactured with thin edges in teak or walnut and a base in veneer or glossy laminate.

The tray can be turned - all of them have one white side and the other side is either black, light green or light blue.

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WALL SOFA, 1950

Finn Juhl’s extravagantly upholstered chairs and sofas from the 1940’s and early 50’s are deeply original. No other furniture designer so radically expressed the surrealistic sculp-tural shapes of the time, as a parallel to the trends on the art scene.

The Wall Sofa from 1950 is not only an excellent example of Finn Juhl’s inspiration from the so-called free art of his time, but also his boundary-crossing ambition to defy gravity and create movement.

The asymmetrical, excessively upholstered backrest almost floats like a cloud by Magritte above the also floating seat - carried by an almost invisible frame. The unusually shaped back is suited to the human body and facilitates several comfortable sitting and lying positions.

Finn Juhl used this sofa in several of his interior designs such as his Villa Aubertin, which he designed in 1952, as well as in the Nordenfjeldske Kunstindustrimuseum in Trondheim, Norway, where he was commis-sioned to design a showroom with modern furniture and crafts representing a modern 1952 interior style.

The sofa is hand-upholstered in wool fabric. The wall mounted steel frame is painted light grey.

VÆGSOFA, 1950

Finn Juhls overpolstrede møbler fra 1940’erne og 50’ernes begyndelse er dybt originale. Ingen andre designere gik så radikalt til værks og udtrykte tidens moderne skulpturelle formsprog i en møbelkunst, med en næsten fuldkommen surrealistisk sansning.

Vægsofaen fra 1950 er ikke bare et godt eksempel på Finn Juhls inspiration fra den moderne frie kunst, men også på hans lyst til at ophæve tyngdekraften og skabe bevægelse. Den asymmetriske overpolstrede ryg svæver - nærmest som en Magritte-agtig sky - hen over det ligeledes svævende sæde, båret og bundet sammen af et næsten usynligt stel. Den særlige udformning af ryggen er tilpasset den menneskelige krop - og gør det muligt at sidde eller ligge bekvemt på flere måder.

Finn Juhl brugte sofaen i flere af sine kendte indretninger. Blandt andet i “Villa Aubertin”, som han tegnede i 1952, og i Nordenfjeldske Kunstindustrimuseum i Trondheim i Norge, hvor han havde fået til opgave at indrette et udstillingsrum med moderne møbler og kunsthåndværk, der repræsenterede interiør-stilen i 1952.

Sofaen leveres med håndsyet polsterarbejde i uldstof. Stellet skal monteres til væggen, og er udført i lys grå malet stålrør.

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TABLE BENCH, 1953

A bench or a table – used for both, designed by Finn Juhl for BOVIRKE in 1953, as part of a series.

Finn Juhl had an international breakthrough in the USA in the early 1950’s. He subse-quently designed a whole range of furniture with simple metal pipe frames, inspired by the American designers he had come across.

The Table Bench was part of this line and also a part of the large travelling exhibition in North America called Design in Scandinavia, which Juhl curated. It opened in 22 cities between 1954 and 1957 and was seen by approximately 650,000 visitors.

As a result of this exposure and because of its light, elegant and timeless design, the Table Bench has always been a popular piece of furniture that has achieved extremely high prices at auctions around the world.

Onecollection has re-launched the table-bench in three lengths: 112, 170 and 225 cm; and in walnut, teak, oak or Oregon pine with burnished steel frame and wooden toes.

The bench comes with or without edges in matt polished brass. Furthermore, the bench is available with a foldable, padded cushion in either wool or leather.

BORD-BÆNK, 1953

En bænk eller et bord – kan bruges som begge dele. Tegnet af Finn Juhl som del af en serie for firmaet Bovirke i 1953.

Finn Juhl fik i begyndelsen af 1950’erne sit internationale gennembrud i USA. Det var især interiøret til Formynderskabsrådssalen i FN’s hovedkvarter i New York, som bar hans berømmelse frem - men også hans øvrige design og en række udstillinger bidrog.Inspireret af især amerikanske designere, skabte Finn Juhl i denne periode en serie af møbler med stel af metalrør.

Bord-bænken var et af disse, og indgik i vandreudstillingen ”Design in Scandinavia”, som Finn Juhl kuraterede fra 1954 til 1957. Lige siden har Bord-bænken, med sit lette, elegante og tidløse design, været et stykke eftertragtet møbelkunst, som har opnået ekstremt høje auktionspriser overalt i verden.Onecollection har relanceret Bord-bænken i tre længder: 112, 170 og 225 cm.

Udføres i valnød, teak, eg og oregonpine, med stel i bruneret stål og tæer i træ. Bord-bænken leveres med eller uden mat-poleret messingkant og fås desuden med foldbar hynde, betrukket med uld eller læder.

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SKÆNK, 1955

Efter Finn Juhls introduktion på den amerikanske designscene omkring 1950, blev han ny-inspireret af sine amerikanske kollegers enkle design – især Charles Eames - og efter i flere år at have sværget til træet som sit fortrukne materiale til møbler, begyndte han nu at bruge mere stål.

Den nye enkelhed i Finn Juhls design, med de lige linjeforløb, slog igennem i hans design af skriveborde, spiseborde, sofaborde, bænke, skænke og sofaer for firmaet Bovirke på Frederiksberg. Møblerne, der blev fremstillet med lakeret og bruneret stålrørsstel og afsluttet med trætæer, blev Finn Juhls svar på den kritik, der rejstes mod hans eksklusivitet og hans særlige udtryk, som var inspireret af den frie og skulpturelle kunst

Finn Juhls enkle og smukke skænk fra 1955 kombinerer eksklusive træsorter med farver fra Goethes farvecirkel. Skænken leveres med hvid/gul eller hvid/lys blå malede skydedøre og matchende bakker i enten en gul/rød eller en blå farveskala.

SIDEBOARD, 1955

After Finn Juhl’s star rose on the American design stage around 1950, he also became increasingly inspired by his American colleagues - Charles Eames in particular. Up until then, wood had almost exclusively been his preferred material but he now gradually started experimenting with steel.

This new simplicity with its straight lines was evident in his design of desks, dining tables, coffee tables, benches, sideboards and sofas for Danish furniture manufacturer Bovirke. These designs with their stained steel frame and wooden toes were Juhl’s answer to the criticism he had received in terms of his “arty” sculptural designs and his exclusivity.

Finn Juhl’s simple and beautiful sideboard from 1955 combines exclusive wooden materials with the colours from Goethe’s colour wheel. The sideboard is manufactured with white/yellow or white/light blue sliding doors and matching trays in yellow/red or blue shades.

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S I D E B O A R D

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Copyright: Hotel Kolding Fjord

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”OF COURSE FURNITURE AND HOUSES ARE ALWAYS CONSIDERED

IN A CONTEXT. I HAVE RARELY DESIGNED A HOUSE WHERE I DIDN’T

ALSO DESIGN THE FURNITURE. THE FUNDAMENTAL ISSUE IS OF

COURSE THAT FURNITURE IS THERE TO BE USED. FURNITURE IS

NOT PRIMARILY SOMETHING YOU DESIGN TO LOOK AT, BUT TO USE

- BUT IT MAKES YOU HAPPY IF IT IS ALSO WORTH LOOKING AT”.

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53 SOFA, 1953

Til firmaet Bovirke på Frederiksberg tegnede Finn Juhl i 1950’erne en række møbelmodel-ler i et stramt og mere industrielt formsprog, båret på spinkle, næsten usynlige, ben-stel i bruneret stålrør. Der er tale om en hel serie sammenhængende møbler i træ og farver med Finn Juhlske detaljer.

53-sofaen er en stram sofa med eksklusivt springindlæg i det fastpolstrede sæde. Ryghynderne er løse. Finn Juhl brugte selv sofaen i indretningen af sin prøvelejlighed i højhusene på Bellahøj - og i mange af de 33 SAS-terminaler, som han indrettede mellem 1957 og 1961.

Sofaen har håndsyet betræk i uldstof efter ønske.

53 SOFA, 1953

During the 1950’s, Juhl designed a series of furniture for the furniture manufacturer Bovirke with a more streamlined, industrial style, which was easily recognisable by its slender, almost invisible legs in stained steel and their use of wood and colour with Finn Juhl’s trademark sense of detail.

The 53 Sofa is a very “tight” sofa with generous springiness in the otherwise firmly upholstered seat. The back cushions are loose and the fabric has hand-upholstered wool fabric to order.

Juhl himself used this sofa in his showroom apartment in the Bellahøj high-rise building complex as well as in many of the thirty-three SAS terminals he designed between 1957 and 1961.

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NYHAVN DESK, 1945

During his career, Finn Juhl designed a series of different tables with almost invisible legs in stained or painted steel with wooden toes. In this way, he introduced an almost floating lightness to his designs.

When he established his first studio at the exclusive address of 33 Nyhavn in central Copenhagen in 1945, he designed a very simple desk with stained steel legs, which came to shape his designs of furniture and inventory during the 1950’s. When Finn Juhl moved his studio to 38 Sølvgade in 1957, these same tables were still used.

Finn Juhl varied the simple concept for different purposes and finishes. Today the table is manufactured in two different sizes available in either black lino or teak, oak or walnut veneer table top with matching wooden toes on burnished steel legs.

The table can also be ordered with a drawer unit with three coloured trays in yellow/red or blue colours mounted with brackets, to furthermore emphasize the floating lightness of the table.

NYHAVN BORD, 1945

I løbet af sit arbejdsliv tegnede Finn Juhl en række forskellige møbler, alle karakteriseret ved et næsten usynligt benstel, udført i bruneret eller malet stålrør, der mod gulvet er afsluttet af en tå i træ. På denne måde tilføres bordet lethed og en nærmest svævende fornemmelse.

Da han etablerede sin første tegnestue på adressen Nyhavn 33 i København i 1945, tegnede han et meget enkelt arbejdsbord med brunerede stålben, der kom til at præge hans design af møbler og inventar op gennem 1950’erne. Finn Juhl varierede dette enkle koncept til mange formål og i mange udførelser.

Bordet leveres i dag i to størrelser med en bordplade i sort linoleum eller fineret i teak, eg eller valnød med kantlister og trætæer, der matcher. Benstel i bruneret stålrør.

Til bordet fås et skuffeelement med tre farvede bakker i enten en gul/rød eller en blå farveskala, der monteres med afstandsbeslag, hvilket igen giver en svævende fornemmelse.

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GLOVE CABINET, 1961

The Glove Cabinet, wich Finn Juhl designed for his wife Hanne Wilhelm Hansen, was presented by Ludwig Pontoppidan at The Cabinetmaker’s Guild Exhibition in 1961 – which was to become Juhl’s 25th and last exhibition of that kind.

Finn Juhl’s 1961 exhibition became the focal point of strong criticism, especially from designers such as Børge Mogensen and Arne Karlsen, who were followers of the Klint School of furniture design. Their view was based on a social aesthetic functionalism, where unneces-sary decoration was frowned upon.

But time has proved his critics wrong - Juhl’s designs indeed have longevity. With his artistic approach to design Juhl is one of the few who masters both functionality and delicate detail. Although ladies no longer use gloves like in the 1960’s, Juhl’s reinvention of the traditional chest of drawers still looks fresh more than 50 years later.

The jewellery box of a glove cabinet, with its exclusive cherrywood and brass exterior and daring colourful interior, today seems like an extraordinary tribute to both the past and the future.

HANDSKESKAB, 1961

Handskeskabet blev præsenteret af Ludwig Pontoppidan på Snedkerlaugets Møbeludstilling i 1961 – Finn Juhls 25. og sidste laugsudstilling.

I 1961 stod dansk møbelfremstilling ved en korsvej mellem de stolte møbeltraditioner fra den internationalt berømte Danish Modern-bevægelse - og den uundgåelige fremtid, anført af den industrielle produktion.

Finn Juhls 1961-udstilling blev stærkt kritiseret af særligt de designere, der udsprang af den Klintske skole, og som baserede sig på en social-æstetisk funktionalisme, hvor al

unødvendig dekoration var bandlyst.Men tiden har været med Finn Juhls design, og hans fornyelse af den lille klassiske kommode tager sig stadig lige frisk ud, her mere end 50 år senere.

Handskeskabet, med sine eksklusive ydre detaljer i træ og metal og sit dristige indre i klare farver, virker i dag som en bemærkelses-værdig hyldest til både fortiden og fremtiden.

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CIRKELTÆPPE, 1963

For firmaet Vittrup Tæpper tegnede Finn Juhl i 1960’erne en række tæppemønstre, som imidlertid aldrig kom i produktion.

Onecollection har et ønske om at komplettere Finn Juhls kollektion. Derfor er det oplagt også at relancere tæpperne med det karakte-ristiske cirkelformede mønster, der får tankerne hen på 60’ernes begyndende vildskab - som blev fulgt til dørs af bl.a. Verner Panton.

Tæpperne leveres i to størrelser: 175 x 175 cm eller 175 x 245 cm, i fire forskellige farvekom-binationer i grå/sort, gul/orange, blå/blå og hvid/beige. Tæpperne er håndtuftede i en eksklusiv kraftig uldkvalitet.

CIRCLE RUG, 1963

During the 1960’s, Finn Juhl designed a series of rug patterns for the Danish carpet manu-facturer Vittrup, which were never produced.

Onecollection has the ambition to offer a complete Finn Juhl design range. It was therefore a natural step to re-launch his rugs with their characteristic circular pattern leading the mind to the Swinging Sixties, which were later encapsulated by designers such as Verner Panton.

The rugs are produced in two sizes: 175 x 175 cm or 175 x 245 cm in four different colour combinations: grey/black, yellow/orange, blue/blue and white/beige. They are hand-tufted in a wonderful dense 100% wool quality.

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PANEL SYSTEM, 1953

When Finn Juhl designed houses and interiors, he aimed at creating a so-called Gesamtkunstwerk: a humanistic-inspired work of art that makes use of all or many art forms. In his work it translated into a philosophy where furniture and space seamlessly become one well-balanced unit.

Contrary to many of his architect colleagues, he worked from the inside out starting with the function of each room and how that purpose was reflected in its interior design before he focused on the exterior.

In 1953 Juhl designed a wall-mounted panel and shelving system, which complemented his interior designs in a very sophisticated way. The panel system transformed walls into becoming an integrated part of the overall design.

The flexible system allows for cupboards and shelves to be moved around independently with limitless combinations of wood, colours and even textiles available.

Onecollection has chosen to re-launch Juhl’s Panel System because it still appears to be both a practical and modern answer to dynamic storage despite its 60 odd years.

PANELSYSTEM, 1953

Når Finn Juhl tegnede huse og interiører, søgte han at skabe et såkaldt Gesamtkunstwerk. En humanistisk integra-tion af møbler og rum i en indefra-og-ud bevægelse, hvor alting spillede sammen i et harmonisk hele. Derfor var det også naturligt for ham at arbejde med alle rummenes funktioner.

I 1953 tegnede Finn Juhl et panel- og hylde-system til vægmontering, som kompletterede hans interiører på en sofistikeret måde. Panelsystemet aktiverede væggene til opbeva-ring på en integreret måde. Skabe og hylder kan frit placeres - og træsorter, farver og endda tekstil kan kombineres efter ønske.

Onecollection har valgt at relancere Finn Juhls panelsystem, som på trods af de mere end 60 år på bagen, er et særdeles funktionelt og æstetisk bud på moderne dynamisk opbevaring,

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ABOUT DESIGN AND CONSTRUCTION

Like other modernist pioneers, Juhl started from scratch without role models or inherited restrictions. He designed by measuring his own body and analysing how the individual compo-nents of the chair should carry the human body. But contrary to his modernist contemporaries, with their stream-lined, scaffolding-like structures, Juhl aimed at a more organic, natural form. The potential strength of the material was utilised to the maximum just like in nature’s own constructions. As Juhl translated his ideas into daring, supple joinery where each element of the design flowed seamlessly into each other, he also put enormous demands on the joiners who were to produce the design.

Rather than thinking in terms of practical construction, Finn Juhl had the mind-set of a sculptor, when he shaped a piece of furniture. In the 1940s and 1950s, this way of working had never been seen before. His ambition was to design furniture with movement and life.Juhl took pride in making both the structurally supportive elements of the furniture and the seated person look as though they are floating. In some of his chairs, the backrest and the seat are almost invisibly joined, as if they were clouds floating through the room.

In creating his furniture, Finn Juhl worked with two elements: The carrying element, and the carried. He eventually became known for his special ability to separate the bearing parts from the borne. This is one of many examples of how he broke free from conventional working methods and found his inspiration in art.

By Mike Rømer

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44 CHAIR

Similar to other pioneers of modernism, Finn Juhl started from scratch when he designed his furniture. His first step was to analyse how the chair’s different components would carry the human body. But opposite his design colleagues, who worked with streamlined, scaffolding-like constructions, Juhl found that furniture needed a “comfortable freeness”.

In the 44 Chair, Juhl transformed the naked wooden construction into an organic shape, which prompted the nick name the Bone Chair. Eventually this chair became Juhl’s personal favourite. Here, the strength of the material is used to its extreme potential. In this way, his construction mimmicks nature, where mass is also greatest wherever strength is needed.

Cabinetmaker Niels Vodder introduced the 44 Chair at the Copenhagen Cabinetmakers’ Guild Exhibition in 1944, but subsequently only produced twelve in Cuban mahogany.

The 44 Chair is not in regular production today, but Onecollection has produced limited series from time to time for special occasions.

44-STOLEN

På linje med andre af modernismens pionerer startede Finn Juhl fra bunden, når han tegnede sine møbler. Han startede med at analysere, hvorledes stolens forskellige komponenter skulle bære menneskekroppen. Men modsat hans samtids designkolleger, med deres strømlinede stilladsagtige kon-struktioner, fandt Finn Juhl, at møbler skulle have en behagende menneskelig frigjorthed.

I 44-stolen omformede Finn Juhl den nøgne trækonstruktion til en organisk form, der også kaldes ”Knoglestolen”, og som blev Finn Juhls eget favoritmøbel. Her er materialets styrke udnyttet til det maksimale. Ligesom i naturens egne konstruktioner, hvor massen er størst, der hvor styrken behøves.

Snedkermester Niels Vodder præsenterede 44-stolen på Snedkerlaugets årlige udstilling i 1944, men håndlavede i alt kun 12 stole i Cuba-mahogni.

44-stolen er ej heller i løbende produktion i dag, men Onecollection har, i specielle anledninger, fremstillet stolen i begrænsede serier.

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FRANCE CHAIR, 1958

Finn Juhl was riding a wave of international success during the 1950’s - not least thanks to his partnership with the Danish furniture manufacturer France & Son.

C.W.F. France was an English businessman who moved to Denmark in 1936 to head a small mattress factory together with cabinet-maker Eric Daverkosen, who died the following year. During the 1950’s, the factory became enormously successful. In 1954 France & Daverkosen produced 60% of all Danish furniture exports and the factory employed 350 people at its peak. In 1957, the company changed its name to France & Son, when his son James France joined the company. In 1966 the company was sold to Poul Cadovius.

The France Chair, or the FJ 136, was designed for the American market in the late 1950’s and was originally delivered flat-packed, which was France’s business idea and the reason for his phenomenal success on the American market.

Onecollection has chosen to re-launch this beautiful Finn Juhl chair from 1958.

FRANCE-STOLEN, 1958

Finn Juhl red på en international bølge i 1950’erne - ikke mindst båret frem af samarbejdet med virksomheden France & Søn. C.W. F. France var en engelsk forret-ningsmand, der kom til Danmark i 1936 for at lede en mindre madrasfabrik i Ørholm - i samarbejde med snedkermester Eric Daverkosen, der døde året efter. I løbet af 1950’erne udviklede fabrikken, der nu var flyttet til Hillerød, sig til et sandt industrieventyr.

I 1954 stod France & Daverkosen for 60% af den samlede danske møbeleksport og beskæftigede 350 medarbejdere, da virksom-heden var på sit højeste. Fabrikken skiftede navn til France & Søn i 1957, da sønnen James France kom med i firmaet. I 1966 blev virksomheden solgt til Poul Cadovius.

France-stolen, eller FJ 136, blev designet til det amerikanske marked sidst i 1950’erne og var oprindeligt leveret knock down, hvilket var hele Frances idé - og forudsætningen for den store succes med eksport af danske møbler til USA.

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O ”Our passion is re-launching Finn Juhl’s furniture, in respect to his legacy, but in a modern reality. The details must be as fine and pure as if it came from the original cabinetmakers’ workshop, but our understanding of quality also includes durability. Our products have to be so durable that they can be enjoyed by users today and by generations to come. Today, our House of Finn Juhl furniture is mainly manufactured in Denmark. Our upholstered furniture such as the Poet Sofa and the Pelican Chair are entirely hand-sewn in the same Danish tradition as the old ones. However, when it comes to our wooden furniture, we have chosen to utilise modern technology, which goes hand-in-hand with excellent craftsmanship in order to make Juhl’s visions come true. The intricately shaped wooden frames in the Chieftain Chair for instance, are masterly crafted by our skilled Japanese friends in Yamagata. Without this approach, it would not be possible to achieve the fantastic finish and delicate detail that was Finn Juhl’s trademark. Besides, several of Juhl’s iconic designs would never be produced because they would have been too delicate to use. Juhl himself was aware of this and famously said: ”One shouldn’t despair over the fact that some of the developments one has hoped for were never produced but only became a beginning. Perhaps they will be revived some day in the future ... when the time is ripe.”

”Vores passion er at relancere Finn Juhls møbler, med respekt for arven og traditionen, men i en moderne virkelighed. De skal i detaljer være lige så fine og lige så originale som dem, de gamle snedkermestre udførte, men vores forståelse for kvalitet betyder også, at møblerne skal kunne holde til at blive brugt til glæde for nuværende og kommende generationer. Vores House of Finn Juhl kollektion er i dag hovedsageligt fremstillet i Danmark. Vore polstermøbler som Poeten og Pelikanen er produceret i den danske håndværkstradition og er håndsyet i Danmark som oprindeligt. Men i forhold til træmøblerne gør vi brug af moderne produktionsteknologi, der i Finn Juhls møbler går hånd i hånd med ypperligt snedkerhåndværk. De dristigt udformede træmøbler med organiske former er mesterligt udført hos vores japanske venner i Yamagata. Uden denne tilgang er det ikke muligt at opnå den fantastiske finish og de delikate detaljer, som er Finn Juhls varemærke og flere af Juhls ikoniske møbler ville aldrig have været produceret, fordi de ikke ville kunne holde til at blive brugt. Finn Juhl var selv opmærksom på dette og har engang sagt: ”Man skal ikke være så fortvivlet over, at de udviklinger man af og til har ønsket sig, at de ikke er blevet til noget, men kun er blevet til en begyndelse. De bliver måske taget op en anden gang, hvis det er nødvendigt, og hvis det er rimeligt, og hvis tiden er moden”.

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P R O D U C T I N F O P R O D U C T I N F O


F J 4 0 0 0

Design: Finn JuhlYear: 1940, Relaunched 2001

Legs: Walnut, teak, oak, blackUpholstery: Fabric or LeatherSize: H 68 x W 85 x D 76 cmSh: 37 cmWeight: 25 kgsCbm: 0,60

Fabricconsumption:Frame: 3,35 m

Cushions: 0,60 m


F J 4 0 0 1




Cushions: 0,60 m

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Materials: Walnut, teak, oak, blackSize: Ø 63 x H 45 cmWeight: 9 kgsCbm: 0,23

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F J 4 1 0 0




Cushions: 1,10 m

NOTICE! E.g. fabrics Blans, Sigsak, Halk, Steelcut, Balder, Vils, Remix, Savak only with

buttons in the back.

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E Y E TA B L E F J 4 8 5 0


Materials: White or black highgloss laminate Walnut/Walnut, Oak/Laminate, Walnut/Laminate, Teak/LaminateSize: W 56 x L 90 x H 50 cmWeight: 10 kgsCbm: 0,30

4 6 S O FA

F J 4 6 0 0


Legs: Walnut, teak, oakUpholstery: Fabric or LeatherSize: H 80 x W 132 x D 75 cmSh: 42 cmWeight: 42 kgsCbm: 0,99


Cushions: 1,10 m

4 5 C H A I R F J 4 5 0 0


Frame: Walnut, teak, oakUpholstery: Fabric or LeatherSize: H 88 x W 66,5 x D 73 cmSh: 42 cmWeight: 12 kgsCbm: 0,49


Cushions: 0,55 m

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C H I E F TA I N S T O O L F J 4 9 0 2


Frame: Walnut, teakUpholstery: LeatherSize: H 38 x W 60 x D 45 cmWeight: 6 kgsCbm: 0,60


F J 4 9 0 0


Frame: Walnut, teakUpholstery: LeatherSize: H 92,5 x W 100 x D 88 cmSh: 34,5 cmWeight: 20 kgsCbm: 0,95

C H I E F TA I N S O FA

F J 4 9 0 1


Frame: Walnut, teakUpholstery: LeatherSize: H 92,5 x W 148 x D 88 cmSh: 34,5 cmWeight: 28 kgsCbm: 1,51

Please notice, produced after order only. Longer delivery time may occur

B U T T E R F LY TA B L E F J 4 9 5 0


Materials: Teak/oregon pineSize: H 50 x W 110

D 46,5/69,3 cmWeight: 12 kgsCbm: 0,40

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B A K E R S O FA F J 5 1 0 0


Frame: Walnut, teak, oakUpholstery: FabricSize: H 98 x W 195 x D 80 cmSh: 44 cmWeight: 65 kgsCbm: 1,81


Back + seat: 4,25 m

C O C K TA I L TA B L E F J 5 1 5 0


Materials: White highgloss laminate Walnut/White Oak/White teakSize: H 50 x L 160 x W 78 cmWeight: 15 kgsCbm: 0,72

E G Y P T I A N C H A I R F J 4 9 4 0


Frame: Walnut, teak, oakUpholstery: Fabric or LeatherSize: H 89 x W 55 x D 56 cmSh: 44,5 cmWeight: 10,5 kgsCbm: 0,47

Fabricconsumption: 1,20 m

S I LV E R TA B L E F J 4 8 1 0


Materials: Table plate in veneer with solid edges and sterling silver. Incl. 2 extensionleavesSize: B 140 x L 200/309,6 x H 72,5 cmWeight: 76 kgsCbm: 0,65

Please notice: Available without silver coins.Tableplates: Oak – Frame: OakTableplates: Teak – Frame: OakTableplates: Walnut – Frame: Walnut

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4 6 C H A I R F J 4 6 5 3


Frame: Walnut, teakUpholstery: Fabric or LeatherSize: H 82 x W 62 x D 53 cmSh: 44 cmWeight: 11 kgsCbm: 0,35


K A U F M A N N TA B L E F J 5 0 4 5

Design: Finn Juhl

Year: 1945, Relaunched 2011

Materials: Walnut, Oak. Frame in oak. Tableplate in walnut. Veneer with solid edges. Brass footrestSize: H 71,5 x L 202 x W 94 cmWeight: 38 kgsCbm: 0,31

Please notice, longer delivery time may occur.

R E A D I N G C H A I R F J 5 3 1 0


Frame: Oak/teak. Oak/walnut, BlackUpholstery: Fabric or LeatherSize: H 74 x W 52 x D 58 cmSh: 45 cmWeight: 6,5 kgsCbm: 0,4/2 pcs.


N Y H A V N D I N I N G F J 5 3 6 0


Materials: Walnut, teak, oak veneer or black linoleum. Painted frame in black, orange or bright blue w/ wooden feet. Tableplate with veneer or linoleum w/solid edges.Size: H 72,5 x L 170/278 x W 85 cmWeight: 51 kgsCbm: 0,30

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1 0 8 C H A I R F J 1 0 8 0


Frame: Walnut, OakUpholstery: Fabric or LeatherSize: H 75 x W 51 x D 46 cmSh: 45 cmWeight: 5 kgsCbm: 0,33/2 pcs.

Fabricconsumption:Back + seat: 0,60 m

Please notice, a longer delivery time may occur.

1 0 9 C H A I R F J 1 0 9 0


Frame: WalnutUpholstery: Fabric or LeatherSize: H 75 x W 64 x D 46 cmSh: 45 cmWeight: 6 kgsCbm: 0,30


Please notice, a longer delivery time may occur.

5 7 S O FA F J 5 7 0 0

Design: Finn JuhlYear: 1941, Relaunched 2000 Legs: Stainless or brownished stell w/toes in walnut, teak, oakUpholstery: Fabric or LeatherSize: H 86 x W 234 x D 83cmSh: 38 cmWeight: 65 kgsCbm: 1,54


Cushions: 2,50 m

R O S S TA B L E F J 4 8 0 0


Frame: Stainless stell w/toes in walnut, teak oak. Incl.vase in stainless stell.Size: W 30/60 x H 58 x L 120 cmWeight: 12 kgsCbm: 0,51

Please notice: Available with table plate in veneer without steel and vase.

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J A P A N F O O T S T O O L F J 5 3 0 0


Frame: Walnut, oakUpholstery: Fabric Size: W 60 x D 53 cmSh: 35 cmWeight: 6 kgsCbm: 0,13


J A P A N C H A I R F J 5 3 0 1


Frame: Walnut, oakUpholstery: FabricSize: H 78 x W 61 x D 70 cmSh: 35 cmWeight: 20 kgsCbm: 0,50


J A P A N S O FA F J 5 3 0 2




J A P A N S O FA F J 5 3 0 3




Please notice, produced after order only, longer delivery time may occur.




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5 0 0 C O U C H TA B L E F J 5 8 0 2


Materials: Walnut, teak, oak, blackSize: W 78 x L 84 x H 46 cmWeight: 25 kgsCbm: 0,38

T R A Y TA B L E F J 5 0 6 5


Materials: Walnut, Teak w/high gloss laminate. Walnut/Teak VeneerSize: H 33 x W 50 x D 50 cmWeight: 5 kgsCbm: 0,13

5 0 0 C O U C H TA B L E F J 5 8 0 3


Materials: Walnut, teak, oak, blackSize: W 51 x L 145 x H 46 cmWeight: 30 kgsCbm: 0,43

W A L L S O FA F J 5 0 0 0


Frame: Steel frame: bright grey Upholstery: Fabric Size: H 102 x W 192 x D 80 cmSh: 37 cmWeight: 60 kgsCbm: 1,81

Fabricconsumption:Back: 5,60 mSeat: 2,15 m

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B E N C H W. B R A S S F J 5 5 2 2


Materials: Walnut, teak, oak, oregon pine incl. brass edges. Brownished steel frame with wooden feet. Size: L 225 x D 45 x H 39 cmWeight: 15 kgsCbm: 0,55

B E N C H W. B R A S S F J 5 5 1 7



B E N C H W. B R A S S F J 5 5 1 1



Cushion for bench FJ5511 – 92,5 cmFabric or leather Fabricconsumption 1,15 m

Please notice: Available without brass edges.

Cushion for bench FJ5517 – 150 cmFabric or leather Fabricconsumption 1,70 m


Cushion for bench FJ5522 – 205 cmFabric or leather Fabricconsumption 2,25 m


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S I D E B O A R D F J 5 5 0 0


Materials: Walnut, teak, oak, oregon pine. Brownished steel frame with wooden feet. Doors: Yellow/ white or blue/white. Tray unit: Red/yellow or blue/white colour shade.Size: H 89,5 x L 176,5 x W 46,7 cmWeight: 75 kgsCbm: 0,79

S I D E B O A R D F J 5 5 0 6


Materials: Walnut, teak, oak, origon pine. Brownished steel frame with wooden feet. Doors: Yellow/ white or blue/white.Size: H 89,5 x L 176,5 x W 46,7 cmWeight: 52 kgsCbm: 0,68

5 3 S O FA F J 5 3 5 3


Legs: Brownished stell w/toes in walnut, teak or oakUpholstery: FabricSize: H 77 x W 192 x D 76 cmSh: 42 cmWeight: 49 kgsCbm: 1,21

Fabricconsumption:Frame: 5,60 mBack + seat: 1,95 m

5 3 S O FA F J 5 3 5 2


Legs: Brownished stell w/toes in walnut, teak or oakUpholstery: FabricSize: H 77 x W 133 x D 76 cmSh: 42 cmWeight: 38 kgsCbm: 0,83

Fabricconsumption:Frame: 4,50 mBack + seat: 1,50 m

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N Y H A V N TA B L E F J 5 3 8 0


Materials: Walnut, teak, oak veneer or black linoleum. Brownished steel frame with wooden feet. Tableplate in veneer or linoleum with solid edges.Size: W 85 x L 170 x H 72,5 cmWeight: 25 kgsCbm: 0,27

N Y H A V N TA B L E F J 5 3 8 1


Materials: Walnut, teak, oak veneer or black linoleum. Brownished steel frame with wooden feet. Tableplate in veneer or linoleum with solid edges.Size: W 85 x L 190 x H 72,5 cmWeight: 30 kgsCbm: 0,28

N Y H A V N T R A Y U N I T F J 5 3 8 5


Materials: Walnut, teak, oak. With 3 drawers. Painted in a blue/white or a yellow/red colour shadeSize: H 26 x L 43 x W 40 cmWeight: 11 kgsCbm: 0,10

G L O V E C A B I N E T F J 6 1 0 0


Materials: Japanese cherry/wenge Wheels in brass

Size: H 36,5/51,7 x W 69,2 x D 34,8 cmWeight: 12 kgsCbm: 0,35


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C I R C L E R U G F J 6 3 2 4


Materials: Hand tufted 100% wool 5000 g pr. m2. Blue: FJ 6324-B Yellow: FJ 6324-Y Gray: FJ 6324-GSize: L 245 x W 175 cmWeight: 5000 g pr. m2

Special measurements available

C I R C L E R U G F J 6 3 1 7


Materials: Hand tufted 100% wool 5000 g pr. m2. Blue: FJ 6317-B Yellow: FJ 6317-Y Gray: FJ 6317-GSize: L 175 x W 175 cmWeight: 5000 g pr. m2

Special measurements available

4 4 C H A I R F J 4 4 0 0


Upholstery: Fabric or LeatherSize: H 75 x W 51 x D 46 cmSh: 45 cmWeight: 6 kgsCbm: 0,30

F R A N C E C H A I R F J 5 8 0 0


Frame: Beech, Oak Upholstery: Fabric or LeatherSize: H 81 x W 80 x D 72 cmSh: 38 cmWeight: 11 kgsCbm: 0,45


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S TA R T P A N E L F J 5 5 5 0


Materials: Teak, walnut, oak, oregon pine or painted. Incl. mounting lists.Size: H 200 x W 78 x D 4 cm

R U N N I N G P A N E L F J 5 5 5 1



E N D L I S T S F J 5 5 5 2



S H E L F 2 2 C M F J 5 5 5 3


Materials: Teak, walnut, oak, oregon pine or painted. Shelfsupporter in brownished steel.Size: H 1,9 x W 78 x D 22 cm

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S H E L F 2 8 C M F J 5 5 5 4



S H E L F 4 5 C M F J 5 5 5 5



C U P B O A R D F J 5 5 5 6


Materials: With sliding doors in teak, walnut, oak, oregon pine. Doors: Yellow/ white or blue/white. Shelfsupporter in brownished steel.Size: H 30,7 x W 157 x D 45 cm

B O O K E N D F J 5 5 5 7


Materials: Brownished steel.Size: H 6,0 x W 1,0 x D 25,3 cm

TABLE BENCH FJ 5511 - FJ 5517 - FJ 5522

S IDEBOARD FJ 5500

53 SOFA FJ 5352 - FJ 5353

NYHAVN TABLE FJ 5380 - FJ 5381 - FJ 5385

GLOVE CABINET FJ 6100

C IRCLE RUG FJ 6317 - FJ 6324

PANEL SYSTEM FJ 5550 - FJ 5551 - FJ 5552 - FJ 5553

- FJ 5554 - FJ 5555 -FJ 5556- FJ 5557

44 CHAIR FJ 4400

FRANCE CHAIR FJ 5800

PELICAN CHAIR FJ 4000 - FJ 4001

PELICAN TABLE FJ 4063

POET SOFA FJ 4100

45 CHAIR FJ 45OO

46 SOFA FJ 4600

EYE TABLE FJ 4850

CHIEFTAIN CHAIR FJ 4900

CHIEFTAIN SOFA FJ 4901

BUTTERFLY TABLE FJ 4950

EGYPTIAN CHAIR FJ 4940

S ILVER TABLE FJ 4810

BAKER SOFA FJ 5100

COCKTAIL TABLE FJ 5150

46 CHAIR FJ 4653

KAUFMANN TABLE FJ 5045

READING CHAIR FJ 5310

NYHAVN DINING FJ 5360

108 CHAIR FJ 1080

109 CHAIR FJ 1090

57 SOFA FJ 5700

ROSS TABLE FJ 4800

JAPAN SERIES FJ 5300 - FJ 5301 - FJ 5302 - FJ 5303

500 TABLES FJ 5802 - FJ 5803

TRAY TABLE FJ 5065

WALL SOFA FJ 5000

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114

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I N D E X

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I N D E X

Onecollection is located in the old town of Ringkøbing at the savage west coast of Denmark. We founded the company in 1990 and through all the years we have passionately provided design solutions together with the best and friendliest architects.

In 2001 we were trusted the exclusive rights to re-launch Finn Juhl’s sculptural furniture designs. Today we are proud to present to you this great House of Finn Juhl collection which includes more than 40 original Finn Juhl classics.

Ivan Hansen & Hans Henrik Sørensen

ONECOLLECTION A/S

VESTERLED 19

DK-6950 RINGKØBING

P +45 70 27 71 01

[email protected]

SHOWROOM RINGKØBING

ØSTERGADE 11

DK-6950 RINGKØBING

SHOWROOM COPENHAGEN

FREDERIKSGADE 1

DK-1265 COPENHAGEN K

HOUSE OF FINN JUHL

NORDRE TOLDBOD 25

DK-1259 COPENHAGEN K

W W W.ONECOLLECTION.COM

Finn Juhl by Onecollection - 2016

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Transcript of Finn Juhl by Onecollection - 2016