Recently repolished, it presents a discreet patina and remains in excellent overall condition.

Denmark, circa 1960.

Well proportioned, it features compact, sculptural floating armrests in teak, contrasted by a wide cognac leather seat. The woven cane backrest adds texture and balances the warmth of the wood and upholstery.

Crafted in solid teak with cane and new leather upholstery, the chair has been carefully restored and remains in very good condition, showing only discreet patina consistent with age and use.

An elegant standalone piece, also suitable for use around a dining table or at a desk.

Carved in wood and entirely hand-painted, this remarkable dressing table, flanked by two peacocks, emerges from Rigot’s enchanted bestiary, where furniture becomes sculpture.

Rigot’s characteristic use of colour — at times naturalistic, always expressive — animates the surface. The pivoting mirror, framed by a checkerboard border that still bears traces of the original pencil guidelines, appears to float between the birds’ necks. Below, carved and pierced details in vivid tones evoke a garden in bloom, while the slender front legs, painted with motifs recalling flowers or feathers, lend the piece a certain lightness and echo the accompanying stool.

The dressing table features two drawers in the front apron as well as two concealed compartments hidden beneath the peacocks’ tails.

Born in 1929, Rigot began sculpting furniture for himself and his family after leaving Paris for the countryside of south-west France, where he acquired a carpentry workshop. His zoomorphic creations playfully blur the boundary between art and furniture.

By the late 1980s, his work had travelled from Paris to New York, London and Zurich, attracting collectors drawn to its singular character. Each piece, though unique, retains what defines Gérard Rigot’s universe: a poetic sensibility, the visible hand, and a playful use of forms and colour.

The design is characterised by corkscrew-turned legs and front stretcher, slightly curved armrests and a clean-lined structure that give the chairs balanced proportions and an understated design, while the woven rush introduces a natural texture and tone that contrasts with the darker colour of the wood.

Good overall condition with minor wear consistent with age and use. Recently polished.

Developed in 1954, the model formed part of Kjærholm’s early exploration of single-material construction. Drawing on Gerrit Rietveld’s Zig Zag Chair, he extended this structural logic into cast concrete, creating a modular system of “Beton Elementer” composed of chairs and tables.

The project was commissioned by Niels Lauritz Dam, who oversaw road infrastructure in northwestern Denmark. Kjærholm was tasked with designing furnishings that would be durable and adaptable across multiple roadside sites. In response, he developed a modular system allowing the elements to function independently or be combined in varying lengths. Installed across approximately twenty locations, the elements were anchored below the frost line, conceived for permanence and for direct integration into the landscape.

The chairs presented here remain in original condition and are structurally sound, showing signs of age including paint loss, surface wear, and a stable crack consistent with long-term outdoor exposure. This patina, inseparable from their history, reflects Kjærholm’s original intention for the Beton Elementer — conceived to endure over time.

Surviving today as a complete suite of four, these chairs represent one of the rarest and most unconventional chapters in Kjærholm’s work.

Bibliography: Michael Sheridan in collaboration with the Louisiana Museum of Modern Art, Poul Kjærholm: Furniture Architect, 2006, pp. 51, 53.

A member of the Omann cabinetmaking family based in Ølholm, Sigfred Omann worked within the family workshop founded in 1892 by his father, Niels Omann, which he later took over.

The solid golden oak structure, with its round tapered legs and hand-woven cane seat, creates a light, well-proportioned silhouette typical of Danish Mid-Century design.

The pair is offered in excellent condition: the oak has been carefully cleaned, preserving its original finish, and the seats newly re-caned. Structurally sound and ready for use.

Crafted from solid oak with woven paper cord seats and brass details, the chairs feature a direct, well-proportioned ladder-back structure. Originally made for church interiors across Denmark and Sweden, they were conceived for durability and daily use, and will integrate naturally into contemporary interiors alongside works by Scandinavian modern designers such as Børge Mogensen, Hans J. Wegner, Tapio Wirkkala, Josef Frank, Paavo Tynell, Alvar Aalto, and Hans-Agne Jakobsson.

Patina and traces of use to the paper cord. Very good overall condition. Seat height: 45 cm.