Ole Wanscher Model FD-120 Rosewood Rocking Chair, circa 1960

A scholar and architect with the heart of an artist, Ole Wanscher helped define the functional, clean-cut style that formed the core of modern Danish furniture design. Influenced heavily by his world travels, Wanscher gained inspiration from English, Asian, Egyptian and traditional Shaker furniture, and he incorporated elements from these styles into his revered mid-century designs.

Wanscher’s deep respect for the use of traditional materials such as quality wood is reflected in his work, which is valued for being both beautiful and built to last. He was also a leader in the postwar “design for everyone” movement, creating many pieces intended for everyday life within the small confines of the average Danish household. Later, Wanscher became a prolific writer on the subject of furniture design. He is considered one of the most significant influences on the world of Scandinavian modernism.

The son of an art historian and a painter, Wanscher studied at the Royal Danish Academy of Fine Arts. From 1925 to 1927, Wanscher worked under the great Danish designer and professor Kaare Klint, who became one of the greatest stylistic influences on his output. Wanscher would go on to work as a professor at the academy from 1955 to 1973.

Wanscher founded his own furniture manufacturing company in 1929. Here he employed the top cabinetmakers of the day, most notably A.J. Iversen, with whom Wanscher collaborated for many years. While the workshop produced seductive handmade furniture with organic materials such as teak and mahogany, Wanscher intended to design durable seating, tables and more for the mass market — he was committed to making quality furniture available to a wider audience.

Of all of Wanscher’s designs, he is perhaps best known for his Colonial chair. This piece — which is part of a collection for Danish manufacturer P. Jeppesens that includes a sofa and a coffee table — exemplifies his penchant for combining minimalist design with traditional craftsmanship. Wanscher’s dining room tables, such as the Rungstedlund table, also epitomize the elegance of his work’s simple silhouettes and careful construction. These sleek tables serve as an ideal centerpiece for both modern and traditionally styled dining rooms, highlighting the versatility of Wanscher’s work.

Wanscher received a gold medal for his exemplary work at the 1960 Milan Triennale. He also received the Copenhagen Carpenters’ Guild Annual Award. Though Wanscher passed away in 1985, his iconic designs and scholarly writings remain relevant to this day.

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Danish manufacturer France Søn is best known for its prolific output of elegant mid-century modern furnishings in teak and leather, yet its multinational beginnings took shape during the 1930s.

After businessman Charles William Fearnley France (1897–1972) moved from his native England to Denmark in 1936, he began to operate a small mattress factory alongside his friend Eric Daverkosen, a Danish cabinetmaker, under the name France Daverkosen. Shortly afterward, Daverkosen passed away, and when Denmark was invaded during the Second World War, Charles was captured and sent to a prison camp in Germany. When he was released, the British entrepreneur set out to produce furniture in the early 1950s, setting up a shop in Hillerød to manufacture the kind of sleek beech and teak goods that were gaining widespread acclaim around the world. In 1957, France’s son James joined the business, and the company changed its name to reflect the addition.

Throughout the ’50s and ’60s, France Søn produced a stunning array — and staggering quantity — of designs, with elegant modernist lounge chairs and armchairs, teak and rosewood dining tables and other furnishings by the likes of Finn Juhl, Grete Valk, Ole Wanscher, Peter Hvidt and Orla Mølgaard-Nielsen all gracing its catalogues.

Even as there was a focus on mass production at France Søn — and the brand doesn’t quite enjoy the same renown as fellow mid-century Danish furniture makers such as Carl Hansen Søn — Charles France believed in making quality furniture, and the company’s offerings evoke the warmth of the handcrafted work that is typically associated with Scandinavian modernism.

In the 1960s, the company was bought by Danish designer Poul Cadovius, who folded it into the operations at CADO, a company he founded during the 1950s. Surviving examples of early work from the brand as well as modern icons by the likes of Verner Panton that followed in later years continue to be in demand.

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