Finn Juhl 45 Chair, the space between the frame and the seat creates a sense of lightness which, combined with its organic shape and refined detailing, gives the chair a unique beauty and floating elegance. The chair appeals to all the senses, pleasing both eye and body, and it has even been called “the mother of all modern chairs” by Japanese professor and design collector Mr. Noritsugu Oda.
There is a thin curved shell for the seat and back that rests on a cross bar underneath, between the side stretchers, so the design separates the supported and the supporting elements of the chair.
The shape of the shell may have been Influenced by a chair designed by Edvard and Tove Kindt-Larsen and made by Gustav Bertelsen that was shown at the Cabinetmakers' Exhibition in 1940. Set in a room with furniture centred around an open fire, the chair won first prize that year * but the frame appears to be heavy and clumsy when compared with the later chair by Juhl.
The groundbreaking 45 Chair marked the beginning of Finn Juhl’s distinctive design language, which came to full expression in the late 1940s. During this period, his work was defined by the liberation of the seat and backrest – designed as a single unit, carried independently by the frame. This bold approach became a defining moment in establishing Finn Juhl as a true pioneer in furniture design.
In the fall of 1945, Finn Juhl unveiled the 45 Chair at the Copenhagen Cabinetmakers' Guild Exhibition. With this chair, he introduced a groundbreaking design separating the carried from the carrying elements – something previously unseen. Today, the chair is widely regarded as one of the most revolutionary and iconic pieces in Danish furniture design. The chair is upholstered by hand in Bangalore in textile or leather. The frame is available in Teak wood.
