The Modern Art chairs are customizable, pick the frame color and wood finish and choose the cushion upholstery through the fabrics and leathers below.
teack
woods
walnut
oak
wood
clear lacquered walnut
clear lacquered oak
Particular attributes: Vegetal is an aniline leather with a extremely good touch. The grain structure of the hide is completely flat. Normal life markings such as healed scars, neck wrinkles, scratches certify the authenticity of this article and show all the positive properties of a product left in its natural state.
scandinavian bullhides – full-grain leather – Aniline – thickness 1.2-1.4mm – vegetable tanning – 7 colours
Natural curly lambskin from New Zealand
Particular attributes: The ultimate in classic elegance. Boasting a natural patina that appears over time, depending on the light, conditions and usage.
Full-grain leather – Aniline – thickness 1.2-1.4mm – chrome followed by a vegetable tanning – 4 colours
leather price group 4
Full-grain leather – protected – thickness 1.4-1.6mm – tannage chrome – 5 colours
leather price group 3
Particular attributes: The hide is firm, but supple with an exceptional grain. The best choice when looking for Saddle-type leather. Visible insect bites, healed wounds and fat stripes contribute to the exclusive look.
Full-grain leather, vacuum-tanned, smooth aniline leather – chromfree tannage – 6 colours
leather price group 2
Particular attributes: gorgeous full grain, soft, smudge-proof, water repellent, dirt repellent, stain resistant, durable, easy upkeep
leather price group 1
Full-grain leather – protected – thickness 1.3-1.5mm – tannage chrome – 12 colours
Particular attributes: Water repellent, dirt repellent, stain resistant, smudge-resistant, durable, easy upkeep. One of Fritz Hansen’s favourite leathers crafted on classic versions of the iconic Egg™ and Swan™ chairs by Arne Jacobsen, among others. A strong, firmer leather that at the same time offers amazing seating comfort
> Skandilock Sheepskin
94% new wool, 6% nylon – 31 available colours – 100.000 Martindale (durability)
90% new wool, 10% nylon – 18 available colours – 100.000 Martindale (durability)
68% new wool, 26% cotton, 6% nylon – 19 available colours – 100.000 Martindale (durability)
fabrics
price group 4
58% wool / 25% viscose / other – 24 available colours – 50.000 Martindale (durability)
100% wool – 27 available colours – 45.000 Martindale (durability)
100% wool – 24 available colours – 45.000 Martindale (durability)
fabrics
price group 3
92% wool / 8% nylon – 27 available colours – 60.000 Martindale (durability)
90% wool / 10% nylon – 27 available colours – 100.000 Martindale (durability)
100% wool – 35 available colours – 45.000 Martindale (durability)
100% wool – 56 available colours – 45.000 Martindale (durability)
90% wool / 10% nylon – 50 available colours – 100.000 Martindale (durability)
90% wool / 10% nylon – 37 available colours – 80.000 Martindale (durability)
70% wool / 30% viscose – 58 available colours – 100.000 Martindale (durability)
fabrics
price group 2
90% wool / 10% helanca – 47 available colours – 100.000 Martindale (durability)
90% wool / 10% nylon – 28 available colours – 100.000 Martindale (durability)
92% wool / 8% nylon – 49 available colours – 100.000 Martindale (durability)
fabrics price group 1
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 H77 x W 70.5 x 59.5cm – Seat height 46cm
Material plastic shell with painted metal legs and wooden feet in oak, teak or walnut. Upholstered seat cushion in fabric or leather
When the Museum of Modern Art of New York hosted a design competition in 1948, Finn Juhl decided to submit a design. The MoMA’s competition was based on the creation of a chair that should be ready for industrial production and then retailed at low prices in order to be accessible to most.
As some have noted, it was not necessarily Finn Juhl’s area of expertise as he was known for his detailed and elegant handcrafted furniture. As a close friend of Edgar Kauffman Jr, who was the director of the Industrial Design Department at MoMA at the time, he may have taken that decision as a result.
Even though he did not win the competition, the armchair was relaunched. The armchair is composed of a shell in polyamid that is completed with a fabric or leather upholstered seat, and of a steel frame that is elegantly enhanced with wooden toes. In honor of Edgar Kaufmann and MoMA it was named the Modern Art Chair.
