Mobilia no. 169, August 1969. Joe Colombo Visiona ’69, Quasar Khanh Inflatable Furniture.

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Mobilia no. 169
August 1969

Mette Bratvold [Editor]

Mette Bratvold [Editor]: Mobilia no. 169. Snekkersten, Denmark: Mobilia, August 1969. Original edition. Text in Danish, English, German and French. Perfect bound and side stapled wrappers. Unpaginated. 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 elaborately designed editorial content and 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]. “

  • Metzler Design Forum Ottobeuren 69. Text and layout by Grete Jalk. Fourteen page feature illustated in color and black and white.
  • Galerie Panegyris: Torben Schmidt. Ten pages on the Oluf Gravesen gallery in Copenhagen.
  • Quasar Khanh: Bengt Rooke. Six pages of inflatable furniture.
  • Round Church At Bornholm. Eight page photo essay.
  • Colombo, Spies & Fjolle: Henrik Sten Møller. Joe Colombo’s Visiona 69 and Staffen Berglund’s Villa Fjolle, 12 pages in color and black and white.
  • Light And Movement At The Bella Center, Copenhagen: Torben Schmidt.Six page illustrated review.
  • Combi-Sit:  Bengt Rooke. Knud M. Andersen’s revolutionary plastic furniture. Nine pages illustated in color and black and white.
  • Pariserlys: Henrik Sten Møller. Ben Swilden retail environment, 6 pages in color and black and white.
  • Om . . .

Includes work by Ernst Dettinger, Henning Korch, Wolfgang Schulmann, Troels Lybecker, Bert Lieber, Georg Leowald, Arthur Lutz, Berndt Diefenbach, Oluf Gravesen, Quasar Khanh, Joe Colombo, Staffen Berglund, Constantin Xenakis, Angel Duarte, Eino Ruutsalo, Joel Stein, Antonio Asis, Knud M. Andersen, Ben Swilden,  and others.

Includes advertising work by Fritzhansen-Møbler, Arne Jacobsen, Gruppo Industriale, Domus Danica, Svend Ellekaer, Bogesunds Väveri, J. L. Møller-Højbjerg, N. O. Møller,  J. O. Carlsson, Karl-Erik Ekselius, Kevi, Erik Møller, Meraklon, 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.”