Mobilia no. 166, May 1969. Alexander Calder, Torun Bulow-Hube Jewelry.

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Mobilia no. 166
May 1969

Mette Bratvold [Editor]

Mette Bratvold [Editor]: Mobilia no. 166. Snekkersten, Denmark: Mobilia, May 1969. Original edition. Text in Danish, English, German and French. Perfect bound and side stapled wrappers. 96  [xxvi] pp. Multiple paper stocks. Fully illustrated articles in black and white and some color. Period furniture advertisements. Wrappers light worn but a very good or better copy.

10.25 x 10.18 magazine with 96 pages of articles and 24 pages of period furniture advertisements. The editors described their magazine thus: “Mobilia is an international subscription periodical for furniture, art, handicraft, etc. Mobilia is published in two issues, one of them in Danish and English, and the other one in Swedish and German, the text having been translated as a whole. Mobilia is issued to all members of Møbelfabrikantforeningen i Danmark [The Association of Danish Furniture manufacturers], of Møbelhandlernes Centralforening i Danmark [The Association of Furniture Dealers in Denmark], and of Indendørs Arkitekt Foreningen [The Association of Interior Architects]; in Sweden a collective subscription has been taken by Sveriges Möbelindustriförbund [The Association of Swedish Furniture Manufacturers]. “

  • Alexander Calder: Per Arnoldi. Ten page feature illustated in black and white.
  • Poul Cadovius, Architect, Furniture Manufacturer And Salesman–All In One: Torben Schmidt. Fourteen page feature fully illustated in color and black and white.
  • Nokken: Peter Ronild.
  • Max Louw: Seven page feature illustated in black and white.
  • Asbestos-Cement Outdoor Furniture: Torben Schmidt.
  • Signs And Wonders: Trademark Exhibition At The Industrial Form, Copenhagen. Six pages of trademarks by Milton Glaser, Otto Krämer, Erik P, Christensen, Ib K. Olsen, Gerald Barney, Design Research Unit, Peter Wright, John Massey, Paul Rand, Artur Paul, Olle Eksell, Karl Gerstner, Ralph Eckerstrom, Seymour Chwast, Hans Neuburg, Lester Beall, and Crosby Fletcher Forbes Gill.
  • Danish Design Collaborative In The USA: Torben Schmidt. Twelve page feature illustated in black and white.
  • Torun Bülow-Hübe: M. François Mathey. Ten page modern jewelry feature illustated in black and white.
  • Om . . .

Includes work by Alexander Calder, Poul Cadovius, Gjerlov Knudsen, Torben Lind, Steen Østergaard, Leif Alring, Sidse Werner, Max Louw, Bengt Rooke, Milton Glaser, Otto Krämer, Erik P. Christensen, Ib K. Olsen, Gerald Barney, Design Research Unit, Peter Wright, John Massey, Paul Rand, Artur Paul, Olle Eksell, Karl Gerstner, Ralph Eckerstrom, Seymour Chwast, Hans Neuburg, Lester Beall, Crosby Fletcher Forbes Gill, Ejner Larsen, A. Bender Madsen, Erik Ole Jørgensen,  Finn Juhl, Jacob Kjær, Torun Bülow-Hübe, and others.

Includes advertising work by Domus Danica, Georg Jorgensen & Søn, Niels Vodder, Willy Beck, Ejner Larsen, A. Bender Madsen, Preben Schou Danish Furniture A/S, Johs. Andersen, Kevi, Erik Møller, Ib & Jørgen Rasmussen, Gabriel In Frederica, Bogesunds Väveri,  J. O. Carlsson, Karl-Erik Ekselius, Meraklon, Fritzhansen-Møbler,  Piet Hein, J. L. Møller-Højbjerg, N. O. Møller, Pele, Esko Pajamies, and more.

In 1954 the four Scandinavian countries, Denmark, Sweden, Norway and Finland arranged what proved to be the most important marketing effort ever for Scandinavian design—the monumental exhibition Design in Scandinavia. From 1954 to 1957 Design in Scandinavia toured the United States and Canada. The exhibition was presented in 27 cities, and it was a huge success, initiated by The Danish Society of Arts and Crafts and its sister organizations in the other participating countries.

Based on the success the four countries established what they called the Scandinavian Design Cavalcade, which had a lot of US press coverage as well. In that connection the July 1959 issue of House Beautiful was centered around The Scandinavian Look in U.S. Homes, and it was Denmark and Danish Design in particular that the magazine focussed on. Besides the editorial pages, the numerous ads illustrates that Danish modern furniture was increasingly gaining a stronghold among certain groups of American consumers.

Importers and retail chains like John Stuart Inc., George Tanier, Raymor and Dunbar etc. now sold Danish modern furniture in the US, and by now it was not only hand crafted furniture from the Copenhagen Cabinetmakers’ Guild Exhibitions but also pieces from industrial furniture producers like Fritz Hansen, Søborg Møbelfabrik, Fredericia Furniture and many others. From the end of the 1950s Danish Department stores and other retailers produced comprehensive brochures and booklets in English with prices in US Dollars presenting Danish Design to American and other tourists.

Without exception, these stores all presented the narrative of Danish modern. “Denmark is known all over the world for its exquisite home furnishing, which are characterized by their outstanding design and superb craftsmanship” the department store Magasin claimed in its brochure “Danish Design.”