They were practically synonyms some years ago when I began my foray in furniture dealing. Midcentury, Modern, Danish, vintage, Hans Wegner. And at the time I did all I could to disassociate from the terms. It’s a shame because I knew of the highly skilled work, and the concepts of people like Wegner. But, once you were in that
circle, there was no way out.
Thankfully the mass seems to have forgotten that they were ever so misinformed to think that all mid-century furniture was Danish - or vice versa - and through no fault other than marketing to group all teak sideboards into a superficial revival some 50 years after its conception. Hans Wegner is one whose name has always been held highly amongst the Danish designers of the mid twentieth century because, above anything he is a Master Craftsman. Can you imagine any 14 year old now beginning their life-long career as a cabinetmaker? I don’t think I can think of any 30 something year old even being able to make such a decision without untold
distractions.
From that age, though, he seemed to have created a relationship with wood that he could ask any question of and it would answer truthfully. Ask its preferences of how best to join it so that it remains strong. How best to enhance its grain, and how best to present it. How best to create on a factory-scale and still share the unique character of each board. He asked those who came before him how they were able to manipulate a living material cooperatively and showcase it in its best light from all angles. I remember seeing one of his chairs for the first time and thinking how side-by-side it is a replica of an 18th century Chinese model, yet in the context of post-war Europe it becomes something else entirely. This is what makes me think he’s had communications with the natural and the supernatural. What other explanations are there?
-Abel Sloane