After studying at the famous Royal Danish Academy of Fine Arts in Copenhagen and working for architect Vilhelm Lauritzen, Finn Juhl set up his own design office in 1945. Later that year, Juhl and master cabinetmaker Niels Voder, collaborators since 1937, created a buzz at the Cabinetmakers’ Guild exhibition with their expressive, sculptural pieces. In 1951, Juhl went on to make his stateside debut at the Good Design exhibit in Chicago and at MoMA in New York, and he represented Denmark in designing a meeting chamber at United Nations Headquarters. The trained architect and self-taught furniture designer drew the inspiration for his Finn Juhl Credenza (1955) from the cubist movement and Goethe’s color wheel, reflected in the piece’s simple geometric shapes and interlocking planes and its sliding doors and six trays finished in varying shades of blue lacquer. The left interior has two removable pegged shelves, the right an open compartment next to the one for the trays. Holding the walnut body, the hand-burnished steel frame with wooden feet lends the piece airiness. Ships fully assembled. Made in Denmark.
Walnut veneer over MDF; lacquered wood sliding doors and drawers; hand-burnished steel frame; wooden feet.
When you look at the graceful shapes and sensual curves of Finn Juhl's work, you may be shocked to realize that he designed these pieces 60 to 70 years ago. A pioneering force in his own country, Finn Juhl is also credited along with fellow Danes Arne Jacobsen, Hans Wegner, Borge Mogensen and Poul Kjaerholm for introducing Danish modern to mid-century America.
Although he initially wanted to become an art historian, his father persuaded him to attend the Royal Danish Academy of Fine Arts School of Architecture. By 1934, he had a prestigious position with architect Vilhelm Lauritzen, and explored the functionalism movement by creating clean, geometrical buildings like the broadcasting house Radiohuset, a pinnacle of Danish architecture that now houses the Royal Danish Academy of Music. Read more >