Poltrona modelo 4346 de Ib Kofod-Larsen para Fritz Hansen, años 50

Furniture designer Ib Kofod-Larsen was born Denmark in 1921 and studied at the Danish Royal Academy in Copenhagen. In 1948, he won the Holmegaard glass competition as well as an annual award from the Danish Cabinetmakers Guild. The latter drew the attention of Danish furniture manufacturer Faarup Møbelfabrik, and Kofod-Larsen went on to create some of his most beautiful works for the company, including his rosewood Model 66 sideboard, during the 1950s. He also designed furniture for several other leading midcentury manufacturers, both at home and abroad, including High Wycombe, Christensen & Larsen, Carlo Gahrn, Bovenkamp, Petersens, and Fredericia Furniture.

Kofod-Larsen frequently worked with gorgeous woods, such as teak and rosewood, as well rich leathers. Clean, sculptural lines characterize much of his work. Notable designs include the U-56 or Elizabeth Chair (1956), composed of a light teak frame and upholstered leather that was purported to have been named for England’s Queen Elizabeth II after she purchased a pair during a visit to Denmark in 1958; as well as the airy and modern Penguin chair (1953). The latter (sometimes referred to as the Shell) features a curved back that embraces the sitter and was originally produced by Petersens in Denmark. It went on to also find great success with the Selig company, which imported and sold thousands of copies in various iterations (settees, dining chairs, and more in various woods and upholsteries) in the U.S. market starting in the 1950s. Kofod-Larsen’s striking teak and leather-upholstered Sälen (or Seal) easy chairs for OPE (also 1950s) have become increasingly popular on the vintage market in recent years. 

Kofod-Larsen passed away in 2003. Today, the designer’s pieces have become more frequently collected, in large part due to Kofod-Larsen’s talent for honoring the innate qualities of his chosen materials.

Danish cabinetmaker Fritz Hansen founded his eponymous furniture manufacturing company with his son Christian in Copenhagen in 1885. The first three decades were dedicated to hand-making wood and iron frames for upholstered furniture. In 1915, however, Christian began to introduce industrial processes, such as steam-bending wood, which enabled the family business to mass-produce at a larger scale.

In 1932, Christian brought in his own sons, Fritz and Søren, who updated the product line to include more modernist styles, like Søren’s Thonet-inspired DAN Chair (1930) and a cantilevered wicker and tubular steel chair by architect Mogens Lassen (1933). Other early classics in the Fritz Hansen catalog include Kaare Klint’s Church Chair (1936), Hans Wegner’s China Chair (1944), and Børge Mogensen’s Spoke Back Sofa (1945).

During the 1950s—thanks especially to the contributions of architect Arne Jacobsen—Fritz Hansen entered its golden era, creating some of the most iconic Scandinavian designs of the 20th century. Arne Jacobsen’s Ant Chair (1952), Swan Sofa (1958) and Egg Chair & Ottoman (1958), as well as later designs by Verner Panton, Piet Hein, and Grete Jalk, all helped to cement Fritz Hansen’s legacy as one of the most beloved producers of high quality, simple-yet-elegant, Danish modern furniture.

In 1979, after 107 years of family ownership, Fritz Hansen was bought out by Skandinavisk Holding and is now known as The Republic of Fritz Hansen. Pieces from the company’s long history can be found in nearly every design museum collection there is, from MoMA and Cooper Hewitt in New York to the Powerhouse Museum in Sydney. Arne Jacobsen’s collaboration with Fritz Hansen was the subject of the Siéntate Siéntete exhibition, hosted by the Chamber of Architects in Madrid in 2010.  

* All images courtesy of Republic of Fritz Hansen.