Scandinavia Design

Sofa 46 – HFJ

Finn Juhl, 1946 

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20% off on Finn Juhl until  Monday Dec. 9

House of Finn Juhl, Design Danois
Sofa 46  Finn Juhl, 1946

The lovely Sofa 46 was designed in 1946 for a smaller upholstery company named Carl Brørup. At that time Finn Juhl was very much inspired by modern art especially by Picasso, Henry More. To match the sofa he designed the eye-shaped table 4850 with a blank desktop and as usual plenty of details. The couch is fully upholstered and hand-sewn with legs in teak, walnut or oak. 

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Dimensions L132 x D75 x H80 cm – seat height 42cm

Upholstery fabric or leather

Legs oak or walnut 

Sofa 46
from

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Fabrics and Leathers

Examples:

Sofa 46  Finn Juhl, 1946

Moonlight sheepskin / walnut

Sofa 46  Finn Juhl, 1946

Watercolours Rose Quartz / oak

Sofa 46  Finn Juhl, 1946

Watercolours Rose Quartz / walnut

Sofa 46  Finn Juhl, 1946

Watercolours Pumpkin Spice / oak

Sofa 46  Finn Juhl, 1946

Watercolours Golden Syrup / walnut

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Watercolours Fresh sage

Sofa 46  Finn Juhl, 1946

Watercolours Soft Linen 

Sofa 46  Finn Juhl, 1946

Watercolours Cast Iron

Watercolours Peacock

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Watercolours Silver Azure

Watercolours Butterscotch

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Watercolours Dark Conifer

Remix 163 

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Remix 612 

Sofa 46  Finn Juhl, 1946

Remix 242 

Sofa 46  Finn Juhl, 1946

Remix 183 

Remix 933

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Remix 823 

Remix 762 

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Remix 443 

Sofa 46  Finn Juhl, 1946

Remix 412 

Sofa 46  Finn Juhl, 1946

Remix 123 

Hallingdal 100 

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Hallingdal 960

Hallingdal 376

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Hallingdal 103

Hallingdal 110 

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Hallingdal 227

Hallingdal 113 

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Hallingdal 764 

Hallingdal 457

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Hallingdal 980

Vidar 472

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Vidar 443

Vidar 633 

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Vidar 152

Vidar 1511

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Vidar 723

Vidar 1062

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Vidar 582

Vidar 222

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Vidar 182

Hallingdal 407

Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946
Sofa 46  Finn Juhl, 1946

Finn Juhl

Finn Juhl

As a teenager, Finn Juhl (1912-1989) wanted to become an art historian, having a passion for the fine arts since childhood. His father stopped him and Finn Juhl started architectural studies. Later, when his fame as a designer of furniture acquired, he speaks of himself as an autodidact, in reference to this upset vocation that forced him to walk intellectually on a lonely way. His style owes much to this singular trajectory, with its non academic interpretation of art visible in his work. Finn Juhl started his studies in 1930, a key period which saw the birth of modern design and furniture.

His modern offices in central Copenhagen was greeting his visitors with a huge Japanese fish in paper, symbol of imagination. 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.