Teak Stool with Leather Seat by Vilhelm Lauritzen for Fritz Hansen circa 1945

One of the most significant architects in Denmark’s history and a pioneer of Danish functionalism in Scandinavian, mid-century modern furniture, Vilhelm Lauritzen maintained a lifelong belief that design is an art for the people.

Born in the town of Slagelse in 1894, Lauritzen had an early interest in architecture and design. He graduated from the Sorø Akademi in 1912 and the Royal Danish Academy of Fine Arts in 1922. That year, Lauritzen founded the Vilhelm Lauritzen Architects studio.

Travel to Spain, Greece and throughout Central Europe influenced his architectural work. His first major project was in 1928, when he designed the Daell’s Department Store in Copenhagen. Subsequent notable design projects included the Nørrebro Theater in 1931, the Radiohuset building in 1936 and Copenhagen Airport’s first terminal in 1939, inspired by Swiss-born architect Le Corbusier.

Although architecture was among Lauritzen’s chief passions — he was also an avid lepidopterist — he was keenly interested in the furnishings of his projects, designing everything from chairs and settees to door handles and ashtrays. His influential creations include the iconic VL 38 “Radiohus” table and the VL 45 “Radiohus” pendant light — a powerful downward light that provides a gentle illumination through handblown, white opal glass. Both were designed for Danish furniture manufacturer Louis Poulsen in collaboration with Danish designer Finn Juhl. Vilhelm Lauritzen’s lamps and wall sconces, which have obliquely angled lamp heads, were likewise designed in partnership with Poulsen for the Radiohuset building in the 1930s.

Lauritzen remained active in his studio until 1969, overseeing numerous architecture projects in the 1950s, such as the Shellhuset building, Folkets Hus — known today as the VEGA concert hall — and the Danish Embassy in Washington, DC. 

Lauritzen died in 1984. His legacy lives on with Vilhelm Lauritzen Architects still operating in Copenhagen’s Nordhavn district, and his elegant lamps remain in production by Louis Poulsen.

On 1stDibs, discover a range of vintage Vilhelm Lauritzen lighting, seating, tables and more.

When the Copenhagen-based furniture maker Fritz Hansen opened for business more than 140 years ago, the company — which today styles itself The Republic of Fritz Hansen — adhered to the traditional, time-honored Danish values of craftsmanship in woodworking and joinery. Yet thanks to the postwar innovations of Arne Jacobsen and others, Fritz Hansen would become the country’s leader in Scandinavian modern design using new, forward-looking materials and methods.

Fritz Hansen started his company in 1872, specializing in the manufacture of small furniture parts. In 1915, the firm became the first in Denmark to make chairs using steam-bent wood (a technique most familiar from birch used in the ubiquitous café chairs by Austrian maker Thonet). At the time, Fritz Hansen was best known for seating that featured curved legs and curlicue splats and referenced 18th-century Chippendale designs.

In the next few decades, the company promoted simple, plain chairs with slatted backs and cane or rush seats designed by such proto-modernist masters as Kaare Klint and Søren Hansen. Still, the most aesthetically striking piece Fritz Hansen produced in the first half of the 20th century was arguably the China chair of 1944 by Hans Wegner — and that piece, with its yoke-shaped bentwood back- and armrest, was based on seating manufactured in China during the Ming dynasty. (Wegner was moved by portraits he’d seen of Danish merchants in the Chinese chairs.) 

Everything changed in 1952 with Arne Jacobsen’s Ant chair. The collaboration between the architect and Fritz Hansen officially originated in 1934 — that year, Jacobsen created his inaugural piece for the manufacturer, the solid beechwood Bellevue chair for a restaurant commission. The Ant chair, however, was the breakthrough.

With assistance from his then-apprentice Verner Panton, Jacobsen designed the Ant chair for the cafeteria of a Danish healthcare company called Novo Nordisk. The chair was composed of a seat and backrest formed from a single piece of molded plywood attached, in its original iteration, to three tubular metal legs. Its silhouette suggests the shape of the insect’s body, and the lightweight, stackable chair and its biomorphic form became an international hit.

Jacobsen followed with more plywood successes, such as the Grand Prix chair of 1957. The following year he designed the SAS Royal Hotel in Copenhagen and its furnishings, including the Egg chair and the Swan chair. Those two upholstered pieces, with their lush, organic frames made of fiberglass-reinforced polyurethane, have become the two chairs most emblematic of mid-20th-century cool. Moreover, the Egg and Swan led Fritz Hansen to fully embrace new man-made materials, like foam, plastic and steel wire used to realize the avant-garde creations of later generations of designers with whom the firm collaborated, such as Piet Hein, Jørn Utzon (the architect of the Sydney Opera House) and Verner Panton. If the Fritz Hansen of 1872 would not now recognize his company, today’s connoisseurs certainly do.

Find a collection of vintage Fritz Hansen tables, lounge chairs, sofas and other furniture on 1stDibs.