Kaare Klint

Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, vol. 1: 1927-1936, Copenhagen, 1987, p. 170
Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, vol. 4: 1957-1966, Copenhagen, 1987, p. 214
Gorm Harkær, Kaare Klint: vol. 1, Copenhagen, 1988, p. 349, p. 359 for a technical drawing
Gorm Harkær, Kaare Klint: vol. 2, Copenhagen, 1988, p. 40

Very good condition overall consistent with age and use. The leather with scattered staining throughout, as visible in the printed and online catalogue, and is a result of the natural ageing of the material. Two deeper scuffs to the backrest of one chair, each approximately 1cm and .5 cm, with one deeper scuff to the backrest of the other chair, approximately 1.5cm. Minor scattered scuffs and scratches concentrated to the bases of the wooden legs. One chip with an older repair to the base of the leg of one stool, approximately 2.5 x 1.5 cm and is not visually distracting.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Designer Ole Wanscher, upon seeing Kaare Klints stand at the 1933 Copenhagen Cabinetmakers guild remarked '...a number of firms have dared to make... furniture which is only distinguished by its well-planned proportions and exquisite materials. The architect Kaare Klint's work has been of fundamental importance to this...'

Known as the father of Danish Modernism, Kaare Klint dared to reduce his forms to their essential. Working with carefully measured proportions and leaving nothing to chance, Klint executed his designs using fine and high quality materials such as Cuban Mahogany and Niger leather. Bucking the trend of highly polished woods and dyed leathers popular at the time, Klint choose to leave the materials as close to their original state as possible, as noted again by Ole Wanscher: 'It seems so easy to make things which are genuine and simple... but this is not true in the furniture trade. Here it is still something of a feat to be natural.' 

The present model was exhibited at the 'Copenhagen Cabinetmakers’ Guild', Industriforeningen, Copenhagen, 16 September–1 October 1933, Stands 15 and 16.