Danish Modern From the 1950s onwards, this term, along with its Scandinavian and Swedish counterparts, was widely used to describe those aspects of Danish design that acknowledged some of the characteristics of Modernism but were distinguished by the use of more traditional materials, natural finishes, organic shapes, sculptural form, and a respect for craftsmanship.
Danish architect and furniture designer Edvard Kindt-Larsen (1901–1982) collaborated frequently with his wife Tove Kindt-Larsen (1906–1994). The couple worked in the fields of architecture, furniture design, silverware design, and textiles from the 1930s to the 1960s, ranking among Denmark’s leading designers.
The son of a farmer, he attended Askov Højskole, a folk High School, before training as a cabinetmaker in Jutland and later in Copenhagen. From 1926 to 1929, he worked in Paris, Geneva and Lausanne. In 1935, he moved into Bredgade in Copenhagen where he started his own workshop which he maintained for 20 years. He attended evening classes at the Royal Danish Academy of Fine Arts where he studied under Einar Utzon-Franck and Kaare Klint.
Jalk was a Copenhagen native. She studied under cabinetmaker Karen Margrethe Conradsen at the Design School for Women (1940–1943) after earning a high school diploma in modern languages and philosophy. In addition to obtaining extra instruction from Kaare Klint at the Royal Academy’s Furniture School, she completed her studies at the Danish Design School in 1946
In 1934, he set up his own design office. He designed the 1932 Safari chair, still in production today by Interna in Frederikssund (Denmark). He designed a range of objects, including furniture for Rasmussens Snedkerier, Ivan Schlechter, Cado, Danish CWS, and Interna; carpets; fittings; silver; and fabrics for use in the restoration of Danish churches. He published the book Modern Danish Arts — Craftsmanship (1948).
In 1945, he set up his design studio in Copenhagen. He became head of Det Kongelige Danske Kunstakademie. He worked primarily in metal, designed stainless steel and sterling silver wares for A. Michelsen, aluminium cooking wares for Dansk, and 1954 Obelisk cutlery for Universal Steel. From 1955, he was artistic director of Royal Copenhagen Porcelain Manufactory. From 1959, he designed jewellery for Georg Jensen Solvsmedie.
Koppel had his debut as a sculptor at the Artists’ Authumn Exhibition in 1935 with an expressive portrait bust. He was also represented with drawings on several exhibitions. His best works as a sculptor are the busts of Valdemar and Jytte Koppel (1938 and 1942, both in black granite) and Tora Nordstrom Bonnier and Karl-Adam Bonnier (both 1944).
Christian Joachim was a Danish Ceramicist (1870-1943). Between 1889 he studied at the Det Kongelige Danske Kunstakademi, Copenhagen.
Between 1897 and 1900, Joachim made ceramics with George Jensen in a workshop outside Copenhagen. Between 1901 to 1933 worked for the Royal Copenhagen Porcelain Manufactory, where Arno Malinowski sometimes decorated his restrained neoclassical forms.
His jewellery designs of a kneeling deer, a dolphin in the rushes, and butterflies on a flower, which he created in 1937, were produced for many years. In 1940, he created the ‘Kingmark’ to commemorate King Christian’s seventieth birthday. It was mass-produced and worn by Danes to demonstrate their allegiance to Denmark and opposition to the German occupation.