teak
clear lacquered walnut
oiled walnut
clear lacquered Oregon pine
oiled Oregon pine
clear lacquered oak
oiled oak
white oiled oak
sideboard without drawers
from 5138.40 €
sideboard with drawers
from 6735 €
wood
Finn Juhl
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. And rather than addressing the design of a furniture from an functional angle, in the classical manner, Finn Juhl approached his work in the manner of a sculptor, seeking the beauty of the volume and shape, life and expressiveness, an approach that, in the 1940s and 1950s, was then completely new. For Finn Juhl, it was clear that furniture could not be limited to function, but should also express an artistic sensibility.
Dimensions L180 x D45 x H90 cm
Structure walnut, oak, Oregon pine, teak
Legs painted steel in black, orange or light blue
Sliding doors matching wood veneer or painted yellow/white or blue/white
Drawers (optional) red/yellow or blue/white shades
Finn Juhl designed the Sideboard with its coloured sliding doors and trays in 1955 for Bovirke. It is available in two color ways, yellow-red range and blue, and four types of wood. The frame is in hand-burnished steel.
It is part of a theme with cubist wood cabinets that float on delicate steel frames with wood “feet” and in particular the colours which Finn Juhl arranged throughout the 1950s and 60s. The colour elements reflected his fascination with Goethe’s famous colour circle, which placed the colours in a harmonious cohesion. Finn Juhl’s own house at Ordrupgaard in Copenhagen is a bright example of his use of colours.
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