Two Addition sofas designed by Kaare Klint for Rud Rasmussen,
Denmark. 1933.

Cuban mahogany and original red leather.

H: 79 cm/ 31''
W: 92 cm/ 36 1/4''
D: 66 cm/ 26''
Seat height: 35 cm/ 13 3/4''

Provenance: private Danish collection

Literature:
Dansk møbelkunst gennem 40 aar : Københavns Snedkerlaugs møbeludstillinger 1927-1966 / Jalk, Grethe - Vol. 1 - p. 170 - Vol. 4 - p.212 and 214 - ISBN: 8775117142

History:
Inspired by a French rococo sofa, Klint designed a versatile, modern sectional sofa. The first variant was created in the early 1930s for the prestigious New Carlsberg Foundation offices in Copenhagen. Klint then continued to refine the design, presenting the final Addition Sofa at the 1933 Copenhagen Cabinetmakers' Guild Exhibition.
The Addition Sofa is trimmed with piping to ensure beautiful, clean seams around the seat and back. The leather pleats create rhomboid panels that are held in place with leather-covered buttons and open up when pressure is applied to the sofa to keep the leather from overstretching.
The sofa quickly earned accolades for its simple construction and sophisticated upholstery and today the modular design remains a coveted choice for contemporary interiors.

Source: Carl Hansen


Biography:
Kaare Klint is widely recognized as the father of Danish modern design. It is hard to overstate his influence. He developed an entirely new analytical approach to furniture design that his students at the Danish Academy of Art would emulate for years to come, yet was also inspired by historic designs from various cultures, modernizing and re-interpreting classic pieces for new generations.

Kaare Klint died in 1954, having lived long enough to witness the start of the “golden age of Danish design” which he helped usher in. He was a mentor to many Danish designers who would go onto build very successful careers for themselves, including Hans J. Wegner, Mogens Koch, Arne Jacobsen, Børge Mogensen, and Poul Kjærholm.

"Klint’s work was characterized not only by the harmonious balance between form and materials, but also by his objects’ relationship to their environment, with Klint ensuring that his pieces never dominated a given space. His were objects of timeless utility that united form and function to create a greater whole." Rud Rasmussen.


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