SCANDINAVIAN DESIGN. Kirsten Bjerregaard [Editor]: DESIGN FROM SCANDINAVIA. Copenhagen, Denmark: World Pictures, CA., c. 1968

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DESIGN FROM SCANDINAVIA

Kirsten Bjerregaard [Editor]

Kirsten Bjerregaard [Editor]: DESIGN FROM SCANDINAVIA. Copenhagen, Denmark: World Pictures, CA., c. 1968 [mention of that year's furniture fair]. Original edition. Text in English, French, and German. A very good soft cover book with printed stiff wrappers and minor shelf wear including rubbing and a creased spine. Interior unmarked and very clean. Out-of-print.

9.25 x 12.5 softcover book with 128 pages with approx. 350 color illustrations. From the introduction: “What is Scandinavian Design? No object is so unimportant that it should not be shaped by a qualified artist or designer. This has been one of the basic principles for Scandinavian design from the beginning of the century.”

All pieces are identified by name and manufacturers information concerning dimensions and finishes. I suspect this information could be useful to some people out there.

Represented designers and firms include Tone Vigeland, Timo Sarpaneva, Karl Erik Ekselius, Georg Jensen, Britte-Louise Sundell, Arne Jacobsen, Fritz Hansens Eft., Børge Mogensen, Ole Wanscher, Nanna Ditzel, Lammhults mekaniska, Swedese Møbler, Overman AB, J. O. Carlsson, J. E. Ekornes Fabrikker, Lenestolefabrik A/S, Westnofa, Dokka Møbler, N. Eilersen A/S, BO-EX, Ivan Schlecter, Jydsk Møbelværk, OY Finlayson-Forssa AB, Salesco A/S, A/S Fredericia Stolefabrik, AB Karl Andersson & Söner Möbelfabrik, Louis Poulsen & Co., A/S Mogens Kold Møbelfabrik, Ab Hugo Troeds Industrier, Den Kongelige Porcelainsfabrik A/S, Skovmand & Andersen, Gudbrandsdalens Uldvarefabrik A/S, P. Olsen Sibast, Soren Willadsens Eftf., J. L. Møllers Møbelfabrik, CS Møbler, Godtfred H. petersens Møbelværksteder, Swedese Möbler, Hedensted Møbelfabrik, A/S NA Jørgensens Møbelfabrik, AB Nybrofabriken, Relax, A/S Albert Hansens Møbelfabrik, A/S Nipu, Holm Sørensen & Co., C. F. Christiansen, Egetaepper Export A/S, Børge M. Søndergaard, Silkeborg Møbelfabrik K. Larsen A/S, Kastrup-Holmegaard Glas, Brouers Møbelfabrik, Komfort Møbelfabrik, Textil lassen, ASP-Holmblad, HG-Möbler, Kolding Hørfabrik, Aksel Kjersgaard, A/S Vamo Sønderborg, Tue Poulsen Keramik, L. F. Foght, Richard Nissen, Hans-Agne Jakobsson, AB Broderna Johansson Fåtöjindustri, Feldballes Møbelfabrik, Holger Christiansen, Georg Jørgensen and Søn, Laurids Lønborg, Fog & Mørup, Svängsta Mattväveri, Scanform, Poul Cadovius, France & Søn, Royal System A/S, Interna Källemo, Universal Steel, Den Permanente, Nordås Industrier, Flensted Mobiles, N. Eilersen A/S, Wiltax A/S, Selectform, Kostalampan, and Sørliemøbler among others.

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 1963 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 1963 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, Raynor 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.”

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