Customer Reviews

Danish Modern

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Fifty years after becoming a dominant international style, Danish Modern can still take one's breath away with its clean, spare lines, simple elegance and understated sophistication. This book, by a collector and gallery owner, is a superb introduction to the subject for the collector and for the general reader. Hollingsworth begins with a historical overview, locating Danish Modern, which flourished from 1930 to 1970, within the context of Scandinavian Modern and global modernism as a whole. We learn that the roots of the style are found in traditions developed within the Danish cabinetmaking industry over the course of several centuries. Concepts of quality, craftsmanship and a respect for materials were at the heart of the movement and to these were added an idealist concern for the positive social effects of furniture, derived in part from Swedish influence. The heritage of high-end cabinetmaking combined with a populist emphasis on utility and standardization to produce a style both functional and elegant and one adapted to the needs of modern consumers. Hollingsworth points out that government, education and industry each had a role to play in fostering high quality design within an industry which, due to its relatively small scale, kept a place for hand finishing, unlike the mass production industries elsewhere. Danish designers were also open to influences from great furniture traditions of the past: Egyptian, Greek, Chinese and English among others. This helps to explain why Danish Modern blends well with different styles of décor.

The author profiles each of the designers who contributed most to the style and pays special attention to the cabinetmakers and manufacturers most closely associated with them. Collectors in particular need to be aware that it is the combination of designer and cabinetmaker that makes a difference in the price of a particular piece. A major portion of the book is devoted to a photo survey displaying Danish Modern in contemporary American interiors. Here we see that "timeless beauty" is not just an empty cliché. These lovely photos alone make the book worth the purchase. Finally, there is a chapter on the "art of collecting" which discusses the different woods used in production, care and restoration, how to go about finding and buying true Danish Modern and also the thorny issue of fakes and alterations. Not only the collector but anyone with an interest in fine furniture will enjoy this excellent book. Each reader will discover some especially captivating pieces. My own favorite? Probably Ole Wanscher's "Rungstedlund" armchair in Brazilian rosewood. As my friend Janet would say, "It's to die for!"