16" DANSK WOODEN LAZY SUSAN teak wood vintage turntable revolving platter RARE

Description: Check out our store for more great vintage, new, and used items! FOR SALE:An exquisite, vintage revolving tray from Malaysia DANSK DESIGNS 15.75" TEAK WOOD LAZY SUSAN DETAILS:A True Vintage Danish Modern Turntable! Vintage vibes meet Scandinavian chic with Dansk Designs' 15-3/4" teak wood lazy susan. Step into the world of mid-century modern charm with a stunning vintage Dansk Designs piece. This gorgeous piece of Scandinavian design is a true gem, waiting to be rediscovered and loved in your own home. The teak wood's natural grayish-brown color is simply marvelous, and it's ready to be enhanced with a gorgeous stain or left as is. The choice is yours! The timeless beauty of teak is the epitome of mid-century modern design, perfect for adding a touch of warmth and sophistication to your coffee table or dining table. Use the turntable as a serving platter to display your favorite spreads or create a unique display for your favorite decorative pieces. Its versatility is endless! The beautifully crafted teak revolving platter is a testament to the iconic design of Dansk Designs (also known as Dansk International Designs), a renowned American distributor and retailer of premium cookware, tableware, and home accessories. Founded in 1954 by Martha and Ted Nierenberg, Dansk Designs has been synonymous with style and quality ever since. And this lovely piece is a prime example of the exceptional craftsmanship of their designers and manufacturers of choice. Partially made by hand in Malaysia using the finest teak wood (tectona grandis), this lazy susan from Dansk is a true masterpiece that radiates natural beauty. Likely designed by the legendary Jens Quistgaard, chief designer of Dansk Designs for three decades beginning in 1954, this piece is a testament to his enduring legacy - almost 40 years after parting ways with Dansk Designs. Dimensions & Weight: Diameter: 15-3/4 inches (40 cm) Height: 1-5/8 inches (4.1275 cm)Weight: 3 lb 6.5 oz CONDITION:In good, pre-owned condition. This vintage piece does show signs of previous but it is in very good shape when considering its age. The bottom plate has some scuffs and scratches. The top surface has some wear and the stain appears to have been removed or reduced. Please see photos.To ensure safe delivery all items are carefully packaged before shipping out. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK.*ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Dansk Designs (also known as Dansk International Designs starting in 1954) is an American distributor and retailer of cookware, tableware, and other home accessories based in Mount Kisco, New York. In 2021, the brand Dansk was acquired by Food52.[1] History On a trip to Europe in 1954, Americans Martha and Ted Nierenberg went in search of a product to manufacture and produce for a U.S. audience. During a visit to the Museum of Arts and Crafts Kunstindustrimuseet (today the Danish Museum of Art & Design Designmuseum Danmark) in Copenhagen, they saw a unique set of cutlery on display that combined teak and stainless steel, created by artist-designer Jens Quistgaard.[2] The Nierenbergs tracked down Quistgaard and spoke with him in an effort to convince him to manufacture the cutlery. At first, Quistgaard insisted that the pieces could only be forged by hand, one piece at a time, but Nierenberg was able to convince him they could be mass-produced, leading to Dansk Designs' first product, Fjord flatware, which has been one of the brand's enduring bestsellers.[3] The Nierenbergs established Dansk that year in the garage of their Great Neck, New York, home, with Quistgaard as its founding designer.[3] The name is the Danish word for Danish. By the end of 1954, Ted Nierenberg attracted orders for several hundred units from stores all around the United States, and the business took off from there.[4] By 1958, Nierenberg and Quistgaard had expanded Dansk's wares to include teak magazine racks and stools, stoneware casseroles, salt and pepper grinders, and flatware with split cane handles. The New York Times credited Dansk with "creating a stir" with "some of the most popular accessories found in American homes."[4] As the company name suggested, Dansk came to epitomize Danish modern design in the urban American market.[5][6] By 1982, Quistgaard had created more than 2,000 different designs for Dansk of dinnerware, glassware and items for the home.[7] Dansk relocated its headquarters to Mount Kisco, New York, in the 1960s.[3] Dansk was purchased in June 1985 by Dansk Acquisition Corp. in a deal initiated by Goldman Sachs.[8] Dansk was acquired in 1991 by the Brown-Forman Corporation and incorporated under its Lenox subsidiary.[9] On March 16, 2009, a group of investors led by Clarion Capital Partners LLC purchased the assets of Lenox—including Dansk—and renamed the company Lenox Corporation.[10] As of January 2018, Dansk continued as a brand of Lenox[11] with headquarters located in Bristol, Pennsylvania. In May 2021, Food52, the content-to-commerce platform founded by Amanda Hesser, purchased Dansk from Center Lane Partners with plans to revive the brand.[1] Dansk designs are recognised for their artistic merit and several examples are held in the collection of the Metropolitan Museum of Art." (wikipedia.org) "The culture of Denmark has a rich artistic and scientific heritage. The fairy tales of Hans Christian Andersen (1805–1875), the philosophical essays of Søren Kierkegaard (1813–1855), the short stories of Karen Blixen, penname Isak Dinesen, (1885–1962), the plays of Ludvig Holberg (1684–1754), modern authors such as Herman Bang and Nobel laureate Henrik Pontoppidan and the dense, aphoristic poetry of Piet Hein (1905–1996), have earned international recognition, as have the symphonies of Carl Nielsen (1865–1931). From the mid-1990s, Danish films have attracted international attention, especially those associated with Dogme 95 like those of Lars Von Trier. Denmark has had a strong tradition of movie making and Carl Theodor Dreyer has been recognised as one of the world's greatest film directors.[1] The astronomical discoveries of Tycho Brahe (1546–1601), Ludwig A. Colding's (1815–1888) neglected articulation of the principle of conservation of energy, and the foundational contributions to atomic physics of Niels Bohr (1885–1962); in this century Lene Vestergaard Hau (born 1959) in quantum physics involving the stopping of light, advances in nano-technology, and contributions to the understanding of Bose-Einstein Condensates, demonstrate the range and endurance of Danish scientific achievement. Culture and the arts thrive as a result of the proportionately[clarification needed] high amount of government funding they receive, much of which is administered by local authorities so as to involve citizens directly.[2] Thanks to a system of grants, Danish artists are able to devote themselves to their work while museums, theatres, and the film institute receive national support.[3] Copenhagen, the capital, is home to many famous sites and attractions, including Tivoli Gardens, Amalienborg Palace (home of the Danish monarchy), Christiansborg Palace, Copenhagen Cathedral, Rosenborg Castle, Opera House, Frederik's Church (Marble Church), Thorvaldsens Museum, Rundetårn, Nyhavn and The Little Mermaid sculpture.[4] Hygge Similar to other Scandinavian cultures, a fundamental aspect of Danish culture is hygge. Hygge, meaning "snug"; is a concept that evokes a "cosiness" that cannot be easily described due to being more of a mood, particularly when relaxing with good friends or loved ones. Christmas time is a true moment of hygge, as is grilling a pølse (Danish sausage) and drinking a beer on a long summer evening.[5][dubious – discuss] It is suspected the concept of hygge is part of the reason Danes and other Scandinavians score high on happiness.[6] Danish Christmas Main article: Jul (Denmark) Viggo Johansen: Happy Christmas (1891) The Danish word for the Christmas holiday is Jul, from the Old Norse jól, the term for "midwinter", itself cognate with the English word, yule.[7] Midwinter celebrations were an important part of Scandinavian culture since prehistoric times, and the term was retained to refer to "Christmas" after Christianization.[8] In many countries Christmas is celebrated on 25 December, but in Denmark, and in the other Scandinavian countries, the most important day for celebrations is Christmas Eve on the 24th when the family comes together. The morning can be spent in various ways but most often it is the time when preparations are made for the evening.[9] Juleaften (Danish for Christmas Eve) or Yule Eve starts around 6 p.m. when a traditional dinner (Julemiddag) is served. Afterwards, the candles on the Christmas tree are lit and the family dance around it singing Christmas songs and carols and subsequently exchange presents.[9] Folklore Main article: Danish folklore Frederik Christian Lund: Girl from Skovshoved Danish folklore is made up of folk tales, legends, songs, music, dancing, popular beliefs and traditions, mostly communicated by the inhabitants of towns and villages across the country. Many of these were passed on from generation to generation by word of mouth. As in neighbouring countries, interest in folklore grew with an emerging feeling of national consciousness in 19th-century Denmark. Researchers travelled across the country collecting innumerable folktales, songs and sayings while observing traditional dress in the various regions. Folklore today is part of the national heritage, represented in particular by national and local traditions, songs, folk dances and literature. Today's folk dancing in Denmark dates back to the beginning of the 20th century, when there was renewed interest in the national heritage. A number of groups began to revive the music, dances and costumes of past generations. In 1901, the Society for the Promotion of Danish Folk Dancing (Foreningen til Folkedansens Fremme) was founded in Copenhagen, leading to local dancing societies throughout the country.[10] Today there are more than 12,000 folk dancers in 219 local clubs, providing courses in music, dancing and dressmaking.[11][12] The traditional costumes of Denmark, though varying from region to region, date back roughly to the period between 1750 and 1900 when clothes were often home-made from yarn spun from wool or flax. In rural communities, the fabrication of garments for both family members and servants was an important part of everyday life. The artist Frederik Christian Lund, who had travelled across Denmark as a soldier in the First Schleswig War, took an interest in sketching people in local costumes in various parts of the country. He completed his collection of 31 coloured sketches in 1864, publishing them as coloured lithographs in Danske Nationaldragter (Danish National Costumes).[13] Numerous Danish folktales contain a range of mythical figures such as trolls, elves, goblins and wights as well as figures from Nordic mythology like giants and lygtemænd (hobby lanterns). The nisse is a particularly well known legendary figure in Danish folklore, apparently dating back to pre-Christian times when it was believed there were household gods. Traditionally each farm had its own nisse living on the loft or in a stable. Dressed in grey with a pointed red cap, he was no taller than a 10-year-old boy. The nisse would be helpful if treated well, for instance by offering him a bowl of porridge with a clump of butter at night, but, failing good treatment, he could become quite troublesome and mean.[14][15] Today, nisser are associated with Christmas, with some of them being portrayed as Santa Claus's helpers on Greendland. Whilst the superstition regarding the nisse has faded, it is still traditional for households with children to pretend that a nisse lives in the attic, or elsewhere in the house, and to offer it porridge in December. The parents will then, for the duration of the month, play mischievous, but harmless, jokes on the children. The nisse also provides daily gifts, that are laid in a sock, which is hung op on a wall at the start of the month.Cuisine Main article: Danish cuisine Perhaps the most typically Danish contribution to the meals of the day is the traditional lunch or smørrebrød consisting of open sandwiches, usually on thinly sliced rugbrød. The meal usually begins with seafood such as marinated herring, smoked eel, crab, or breaded plaice filets with remoulade and moves on with slices of roast pork or beef, frikadeller (meatballs), hams and liver pâté. The sandwiches are richly garnished with onion rings, radish slices, cucumbers, tomato slices, parsley, remoulade or mayonnaise.[16] The meal is mostly accompanied by beer, on occasion also by shots of ice-cold snaps or akvavit. In the evening, hot meals are usually served. Traditional dishes include fried fish, roast pork with red cabbage, pot-roasted chicken, pot-roast and slow cooked beef, meat balls, or pork chops. Game is sometimes served in the autumn. Steaks are now increasingly popular, but is a modern addition. A popular traditional Danish dessert, especially around Christmas, consists of æbleskiver, rather like small pancake doughnuts which are fried in butter in a special pan and are served hot with jam and sugar. Traditionally, they were made with small pieces of apple in the middle which is why they are called æbleskiver, literally "apple slices". In recent years, development of the New Danish cuisine based on the rediscovery of local ingredients presented in interesting new recipes has led to a significant number of new, highly acclaimed restaurants in Copenhagen and the provinces, several with Michelin stars. This in turn has led to new developments in food production with a series of new products based on organic farming....Design Main article: Danish design Danish design is a term often used to describe a style of functionalistic design and architecture that was developed in mid-20th century, originating in Denmark. Danish design is typically applied to industrial design, furniture and household objects, which have won many international awards. The Danish Porcelain Factory ("Royal Copenhagen"), including Bing & Grøndahl, is famous for the quality of its ceramics and export products worldwide. Danish design is also a well-known brand, often associated with world-famous designers and architects such as Børge Mogensen (1914–1972), Finn Juhl (1912–1989), Hans Wegner (1914–2007), Arne Jacobsen (1902–1971), Poul Kjærholm (1929–1980), Poul Henningsen (1894–1967) and Verner Panton (1926–1998).[28] Georg Jensen (1866–1935) is known the world over for modern design in silver. Other designers of note include Kristian Solmer Vedel (1923–2003) in the area of industrial design, Jens Harald Quistgaard (1919–2008) for kitchen furniture and implements and Ole Wanscher (1903–1985) who had a classical approach to furniture design. The Danish Museum of Art & Design in Copenhagen exhibits the best in Danish design." (wikipedia.org) "Scandinavia is a subregion of Northern Europe, with strong historical, cultural, and linguistic ties between its constituent peoples. Scandinavia most commonly refers to Denmark, Norway, and Sweden. It can sometimes also refer to the Scandinavian Peninsula (which excludes Denmark but includes a part of northern Finland). In English usage, Scandinavia is sometimes used as a synonym for Nordic countries. Iceland and the Faroe Islands are sometimes included in Scandinavia for their ethnolinguistic relations with Sweden, Norway and Denmark. While Finland differs from other Nordic countries in this respect, some authors call it Scandinavian due to its economic and cultural similarities.[4][5] The geography of the region is varied, from the Norwegian fjords in the west and Scandinavian mountains covering parts of Norway and Sweden, to the low and flat areas of Denmark in the south, as well as archipelagos and lakes in the east. Most of the population in the region live in the more temperate southern regions, with the northern parts having long, cold winters. The region became notable during the Viking Age, when Scandinavian peoples participated in large-scale raiding, conquest, colonization and trading mostly throughout Europe. They also used their longships for exploration, becoming the first Europeans to reach North America. These exploits saw the establishment of the North Sea Empire which comprised large parts of Scandinavia and Great Britain, though it was relatively short-lived. Scandinavia was eventually Christianized, and the coming centuries saw various unions of Scandinavian nations, most notably the Kalmar Union of Denmark, Norway and Sweden, which lasted for over 100 years until the Swedish king Gustav I led Sweden to independence. It also saw numerous wars between the nations, which shaped the modern borders. The most recent union was the union between Sweden and Norway, which ended in 1905. In modern times the region has prospered, with the economies of the countries being amongst the strongest in Europe. Sweden, Denmark, Norway, Iceland, and Finland all maintain welfare systems considered to be generous, with the economic and social policies of the countries being dubbed the "Nordic model"....The term Scandinavia in local usage covers the three kingdoms of Denmark, Norway, and Sweden. The majority national languages of these three belong to the Scandinavian dialect continuum, and are mutually intelligible North Germanic languages.[11] The words Scandinavia and Scania (Skåne, the southernmost province of Sweden) are both thought to go back to the Proto-Germanic compound *Skaðin-awjō (the ð represented in Latin by t or d), which appears later in Old English as Scedenig and in Old Norse as Skáney.[12] The earliest identified source for the name Scandinavia is Pliny the Elder's Natural History, dated to the 1st century AD. Various references to the region can also be found in Pytheas, Pomponius Mela, Tacitus, Ptolemy, Procopius and Jordanes, usually in the form of Scandza. It is believed that the name used by Pliny may be of West Germanic origin, originally denoting Scania.[13] According to some scholars, the Germanic stem can be reconstructed as *skaðan-, meaning "danger" or "damage".[14] The second segment of the name has been reconstructed as *awjō, meaning "land on the water" or "island". The name Scandinavia would then mean "dangerous island", which is considered to refer to the treacherous sandbanks surrounding Scania.[14] Skanör in Scania, with its long Falsterbo reef, has the same stem (skan) combined with -ör, which means "sandbanks". Alternatively, Sca(n)dinavia and Skáney, along with the Old Norse goddess name Skaði, may be related to Proto-Germanic *skaðwa- (meaning "shadow"). John McKinnell comments that this etymology suggests that the goddess Skaði may have once been a personification of the geographical region of Scandinavia or associated with the underworld.[15] Another possibility is that all or part of the segments of the name came from the pre-Germanic Mesolithic people inhabiting the region.[16] In modernity, Scandinavia is a peninsula, but between approximately 10,300 and 9,500 years ago the southern part of Scandinavia was an island separated from the northern peninsula, with water exiting the Baltic Sea through the area where Stockholm is now located....Use of Nordic countries vs. Scandinavia Scandinavia according to the local definition The extended usage in English, which includes Iceland and the Faroe Islands, Åland and Finland Further information on this terminology: Nordic countries and Fennoscandia The term Scandinavia (sometimes specified in English as Continental Scandinavia or mainland Scandinavia) is ordinarily used locally for Denmark, Norway and Sweden as a subset of the Nordic countries (known in Norwegian, Danish, and Swedish as Norden; Finnish: Pohjoismaat, Icelandic: Norðurlöndin, Faroese: Norðurlond).[30] However, in English usage, the term Scandinavia is sometimes used as a synonym or near-synonym for what are known locally as Nordic countries.[31][32][33][34][35][36][5][37][38][39] Usage in English is different from usage in the Scandinavian languages themselves (which use Scandinavia in the narrow meaning), and by the fact that the question of whether a country belongs to Scandinavia is politicised. People from the Nordic world beyond Norway, Denmark and Sweden may be offended at being either included in or excluded from the category of "Scandinavia".[40] Nordic countries is used unambiguously for Denmark, Norway, Sweden, Finland and Iceland, including their associated territories Greenland, the Faroe Islands and the Åland Islands.[31] A large part of modern-day Finland was part of Sweden for more than four centuries (see: Finland under Swedish rule), thus to much of the world associating Finland with Scandinavia. But the creation of a Finnish identity is unique in the region in that it was formed in relation to two different imperial models, the Swedish[41] and the Russian.[42][43][44] There is also the geological term Fennoscandia (sometimes Fennoscandinavia), which in technical use refers to the Fennoscandian Shield (or Baltic Shield), that is the Scandinavian Peninsula (Norway and Sweden), Finland and Karelia (excluding Denmark and other parts of the wider Nordic world). The terms Fennoscandia and Fennoscandinavia are sometimes used in a broader, political sense to refer to Norway, Sweden, Denmark, and Finland....Tourism Various promotional agencies of the Nordic countries such as the Norwegian Trekking Association, the Swedish Tourist Association, and in the United States (The American-Scandinavian Foundation established in 1910 by the Danish American industrialist Niels Poulsen) serve to promote market and tourism interests in the region. Today, the five Nordic heads of state act as the organization's patrons and according to the official statement by the organization its mission is "to promote the Nordic region as a whole while increasing the visibility of Denmark, Finland, Iceland, Norway and Sweden in New York City and the United States".[83] The official tourist boards of Scandinavia sometimes cooperate under one umbrella, such as the Scandinavian Tourist Board.[84] The cooperation was introduced for the Asian market in 1986, when the Swedish national tourist board joined the Danish national tourist board to coordinate intergovernmental promotion of the two countries. Norway's government entered one year later. All five Nordic governments participate in the joint promotional efforts in the United States through the Scandinavian Tourist Board of North America." (wikipedia.org) "Theodore David "Ted" Nierenberg (May 20, 1923 – July 31, 2009) was an American business executive and entrepreneur who created Dansk International Designs, a company that sells Scandinavian Design-style cooking and serving utensils and other home furnishings, established after discovering the simple but elegant design style on a 1950s trip to Denmark. Nierenberg was born on May 20, 1923, the son of businessman Albert Nierenberg and his wife Rose. He majored in engineering management at Pittsburgh's Carnegie Institute of Technology, earning a Bachelor of Science degree in 1944. After graduation, he worked in the family business that manufactured metal nameplates for appliances.[1] On a trip to Europe in May 1954, Ted and his wife Martha Nierenberg visited a museum in Copenhagen, where he saw a set of unique cutlery on display that combined teak handles and stainless steel, created by artist and industrial designer Jens Harald Quistgaard.[2] Nierenberg tracked down Quistgaard and spoke with him in an effort to convince him to manufacture the cutlery, but Quistgaard insisted that the pieces could only be forged by hand, one piece at a time. Nierenberg was able to convince Quistgaard that the pieces could be mass-produced, leading to Dansk International Design's first product, the Fjord line, which has been one of the firm's enduring bestsellers.[1] Dansk was established that same year by Nierenberg and his wife in the garage of their Great Neck, New York home, with Quistgaard as its founding designer.[1] By 1956, Nierenberg was not certain that American consumers were ready for the spare styling and brought some early samples of stainless steel flatware with sinuous carved wooden handles to a Manhattan store, and was so surprised that the company bought several hundred units on the spot that he almost walked in front of a bus driving down the street.[3] By 1958, Nierengard and Quistgaard had expanded Dansk's wares to include teak magazine racks and stools, stoneware casseroles and salt and pepper shakers, and flatware with split cane handles, with The New York Times that year as "creating a stir" as "some of the most popular accessories found in American homes".[3] Dansk relocated to Mount Kisco, New York, and was known for its sleek, functional products often made of exotic woods such as teak, combined with enameled metal and stainless steel.[1] Dansk was purchased in June 1985 by Dansk Acquisition Corp. in a deal initiated by Goldman Sachs.[4] Personal His woodland garden and its Japanese maples, was described by The New York Times as being "widely considered among the finest gardens in the Hudson Valley".[1] The Beckoning Path: Lessons of a Lifelong Garden, a book of Nierenberg's photographs of his gardens, was published by Aperture Press in 1993.[5] Nierenberg died at age 86 on July 31, 2009, due to pancreatic cancer at his home in Armonk, New York. He was survived by his wife, two daughters, two sons and ten grandchildren." (wikipedia.org) "Martha Nierenberg (1924 – 2020) (known in full as Martha née Weiss de Csepel Nierenberg), was a Hungarian-born American businesswoman who co-founded Dansk International Designs. Early life and education Nierenberg was born in Budapest on March 12, 1924, into one of Hungary's wealthiest families. She was the daughter of Alfonz Weiss de Csepel, who headed the Manfréd Weiss Steel and Metal Works and its foundation[1] and Erzsbet Herzog Weiss de Csepel, a medical doctor who had studied psychiatry in Vienna with Anna Freud. She had two brothers (John, 1936–2017) and a sister (Mary Radcliffe). Jewish by birth, Martha attended a Calvinist school, to focus on science and math, then enrolled in a science college in Budapest.[2] Her maternal grandfather, the banker Baron Mór Lipót Herzog (1869 – 1934), numbered among Europe's leading art and antiquities collectors. Her paternal grandfather, Manfred Weiss de Csepel, founded the Manfred Weiss Steel and Metal Works, Hungary's largest machine factory, employing 40,000 people once. She evaded capture during the World War II by fleeing via Austria to Portugal in 1944. After more than a year there, she emigrated with her mother to the United States on 27 December 1946.[3] Career A scientist who spoke six languages, Martha received a Master of Science degree in biochemistry from Radcliffe College and conducted research at MIT and the Rockefeller Institute for Medical Research in Manhattan. Founding of Dansk International Designs On a trip to Europe in 1954, the Nierenbergs sought out products to manufacture in the U.S. for American consumers. At the Danish museum of arts and crafts—Kunsthandwaerkmuseet (today called the Danish Museum of Art & Design—Kunstindustrimuseet) they noted teak and stainless steel cutlery by Jens Quistgaard. The Nierenbergs recruited Quistgaard to manufacture the cutlery, which became Dansk Designs' first product, Fjord flatware. That same year, the Nierenbergs established Dansk in the garage of their Great Neck, New York, home, with Quistgaard as its founding designer. Personal She met Theodore David Nierenberg (1923 – 2009), the owner of a metal finishing company, at the Broadway premiere of Guys and Dolls in 1950. They married in 1951, moved to Great Neck, on Long Island, and had four children – Lisa, Karin Weisburgh, Peter and Al. The family lived in Armonk from 1963 to 2013. In 1954, she and Nierenberg founded the Dansk Designs housewares company.[4] She died on June 27, 2020, in Rye, New York." (wikipedia.org) "Jens Harald Quistgaard (April 23, 1919 – January 4, 2008) was a Danish sculptor and designer, known principally for his work for the American company Dansk Designs, where he was chief designer from 1954 and for the following three decades. Cheese knife and board attributed to Quistgaard Though a sculptor and grounded in traditional handicrafts, he quickly established a career as an industrial designer. From the mid-1950s his tableware and kitchenware designs became synonymous with Scandinavian modern and found their way into millions of homes in the US, Europe and Japan. With his international orientation and success he was groundbreaking, and he had great significance for the place which Danish design acquired in the minds of many Americans.[1] In 1958, he received the Neiman Marcus Award and during the following years he was represented at major museums in Europe and the USA.[citation needed] Many of Jens Quistgaard's works are still produced today. Early life and training Jens Quistgaard grew up in an artistic home in Copenhagen and already as a boy, demonstrated unusual artistic talents. The work with handicrafts began in his mother's kitchen, where he made himself a little workshop with vice and anvil. Here he produced jewellery, hunting knives, bags and ceramics. When he was young he would often be found at the village smiths, carpenters or joiners, and it was here he acquired the craftsmanship which he later used to produce models in wood, metal, ceramic and glass.[2] He was trained as a sculptor by his father, Harald Quistgaard (1887-1979), and was later educated as a drawer and silversmith at the technical school in Copenhagen.[3] During the occupation of Denmark he was active in the Resistance movement.[citation needed] Work Fjord pattern flatware by Quistgaard Quistgaard started his career drawing portraits. He also produced jewellery, hunting knives, ceramic works, glass and graphic design in the form of monograms, town arms and the like. At the end of the 1940s his production also included cutlery in silver and steel for different companies, amongst others the silvery cutlery set Champagne (1947 for O.V. Mogensen) and kitchen utensils in steel for Raadvad [da], including the little shark fin can opener from 1950. His breakthrough as an industrial designer came in 1953–54, where he fashioned the cutlery set Fjord, the first cutlery set that combined stainless steel with handles of teak. Around the same time he designed a saucepan in cast iron for De Forenede Jernstoeberier A/S (United Iron Foundries). The pan was marketed under the name Anker-Line and was awarded the gold medal at the Triennale in Milan in 1954. In the same year, Quistgaard also received the Lunning Prize. 1954 was also the year American business people Ted Nierenberg and Martha Nierenberg visited Europe, on the lookout for talented design which could be launched in the USA. After having seen the cutlery set Fjord at the Danish Museum of Art and Design in Copenhagen, they sought out the designer, and their meeting led to the foundation of the American company Dansk Designs with Quistgaard as chief designer.[4] Table setting with Quistgaard's candlesticks in brass Already towards the end of 1954, Fjord was introduced in New York, followed the year after by the colourful saucepan range Kobenstyle. Quistgaards designs were a big success from the beginning in the US and were quickly followed by a series of tableware and kitchenware designs: cutlery in silver and handcrafted steel; jugs and saucepans in steel, copper and cast iron; crockery in stoneware; glass; trays, bowls, pepper mills and other objects in staved teak and exotic wood sorts, as well as candlesticks in brass, silver and cast iron. Quistgaard was hugely productive and for Danish Designs alone fashioned more than 4000 products.[5] It is a production which spans a large range of materials and utility items, and which is created from a philosophy that utility items for the kitchen and the table should function together harmoniously. To set the table and arrange with Quistgaard's designs became from the end of the 1950s and during the 1960s identical with "modern living" and Scandinavian style.[6] Where clean lines, sculptural form and natural materials went hand in hand. Significant designs and later life Tjorn flatware The end of the 1950s and the first half of the 1960s were Quistgaard's most productive years for Dansk Designs. In 1958 he designed the cutlery set Toke in steel and bamboo as well as the dinner set Flamestone in stoneware; the cutlery set Tjorn in sterling silver from 1959, the Festivaal line from 1960 of lacquered bowls and trays in many colors, together with a series of industrial designs in exotic wood sorts, Rare Woods from 1961. The series together with the other woodware was produced by Nissens Woodworking Factory in Denmark, which Quistgaard also designed special works for in the 1960s, amongst others the unusual Stick chair from 1966.[7] At the end of the 1950s Quistgaard began designing and overseeing the construction of a large villa in Armonk, north of New York, for his American business partner Ted Nierenberg. Quistgaard designed everything, from the large roof constructions and window sections to the doorhandles, bathtub and spiral staircase. The villa was completed in 1961 as a demonstration of Quistgaard's ideal about architectural wholeness. Quistgaard's success escalated throughout the 1960s. His works for Dansk Designs were marketed in all major cities in the US, but he was also successful in Europe and Japan. Dansk Designs started their own shop in the High Street in Copenhagen, in London and in Stockholm, and Quistgaard's designs were exhibited and sold in Tokyo, Berlin, Paris, Zürich, Melbourne, Johannesburg and many other big cities. Quistgaard continued as chief designer for Dansk Designs until the start of the 1980s, when he moved to Rome. He lived there until 1993, and returned to Denmark, where he continued to design until a few months before his death in 2008. In 2006 he received an honorary grant from the Danmarks Nationalbank's Anniversary Fund of 1968, and in 2009 was portrayed as a person and as a designer in the documentary film A Saucepan for My Wife.[8] Quistgaard died at age 88 on January 4, 2008, at his home "Strandgaarden" near Vordingborg, Denmark. He was survived by a daughter, a son and several grandchildren.[9] He is buried in Gimlinge Cemetery. Awards and distinctions Lunning Prize 1954 Gold and silver medals at Milan Triennial 1954 The Neiman Marcus Award for Distinguished Service in the Field of Fashion 1958 Der goldene Löffel, Munich 1962 Honorary grant from the Danish Central Bank's Anniversary Foundation 2006 Museums Designmuseum Danmark, Copenhagen The British Museum, London Museet på Koldinghus, Kolding, Denmark Industrimuseet Frederiks Værk, Frederiksværk, Denmark The Victoria and Albert Museum, London National Museum, Stockholm; MoMA, The Museum of Modern Art, New York City The Metropolitan Museum of Art, New York City The Cooper-Hewitt National Design Museum, New York City The Brooklyn Museum, Brooklyn, New York The Philadelphia Museum of Art Indianapolis Museum of Art The Montreal Museum of Fine Arts Denver Art Museum, Colorado Das Kunstgewerbemuseum, Berlin GRASSI Museum of Applied Arts, Leipzig Städtisches Museum, Braunschweig Landesmuseum für Kunst und Kulturgeschichte, Oldenburg The Louvre, Paris Los Angeles County Museum of Art, California Museum of Fine Arts, Boston, Massachusetts Carnegie Museum of Art, Pittsburgh, Pennsylvania Kirkland Mueum of Fine & Decorative Art, Denver, Colorado Art Institute of Chicago, Illinois The RISD Museum, Providence, Rhode Island National Gallery of Victoria, Melbourne Exhibitions Charlottenborg spring 1947, 1951–52, 1956 Milan Triennial 1954 Habitations nouvelles, Paris 1955 Annual exhibitions of Danish Arts and Crafts Association, 1940s-60s The Lunning Prize Designers' Exhibition, New York 1957 DH '58: Design for the Home, Brooklyn Museum, March 05 - April 27, 1958 Danish Arts and Crafts, Stockholm 1959 The Arts of Denmark, USA 1960-61 Formes danoises: L'art de l'intérieur au Danemark, Exposition itinérante, Musée des Beaux-Arts, Lyon/Palais de la Bourse, Marseille/Musèe Maison de la Culture, Le Havre/Palais des Beaux-Arts. Lille/Galerie Municipale des Beaux-Arts, Bordeaux, 1964-1965 Two Centuries of Danish Design, Victoria & Albert Museum, London 1968 Lerchenborg, separate exhibition 1969 Masterworks – 100 years of Danish furniture-making, Kronborg 2000 A Century of Design, Part III, 1950-1975 Metropolitan Museum of Art, 2001 Danish National Museum, Copenhagen, Images of Denmark, 2002 Danish Museum of Art and Design, Copenhagen, 2004 Danmarks Nationalbank, Retrospective exhibition, 2006 What Was Good Design, MoMA's Message 1944-56, The Museum of Modern Art, New York, May 6, 2009- Jan 10, 2011 Danish Design - I Like It, Designmuseum Denmark, Copenhagen 2011 Danish Modern: Design for Living, Goldstein Museum of Design, Minnesota 2014 and Figge Art Museum, Iova 2015 DANSK - Design by Jens Quistgaard, Retrospective exhibition, HEART Herning Museum of Contemporary Art, 2015-16 Much More Than One Good Chair, Design & Gesellschaft in Dänemark, Nordische Botschaften, Berlin 2017 einfach gut. Design aus Dänemark, Wilhelm Wagenfeld Haus, Berlin 2018-19 The Value of Good Design, MoMA, The Museum of Modern Art, New York, Feb.10-Jun.15, 2019 Scandinavian Design and the United States, 1890-1980, Milwaukee Art Museum, Wisconsin, 2020 Selected works Champagne flatware. Silver. O.V. Mogensen 1947 Tea set and coffee set. Sterling silver, handwrought. Hermann Jacobsen o. 1948 Teapot, unglazed earthenware. Palshus Keramik 1949-50 Shark fin can opener. Stainless steel. Raadvad A/S 1950 Fjord flatware. Handforged stainless steel and teak, Dansk Designs 1954 Ankerline kitchenware. Enameled cast iron. De Forenede Jernstøberier 1954 Kobenstyle kitchenware. Enamel on steel. Dansk Designs 1955 Candle holders, brass. Dansk Designs 1956 Ice bucket, teak. Dansk Designs 1958 Flamestone dinnerware, fluted stoneware. Dansk Designs 1958 Variation V flatware. Handforged stainless steel. Dansk Designs 1957 Toke flatware. Handforged stainless steel and bamboo. Dansk Designs 1958 Tjorn flatware. Sterling silver. Dansk Designs 1959 Relief. Stoneware. Kronjyden 1969-60 Festivaal table top collection. Lacquer on maple. Dansk Designs 1960 House for Ted Nierenberg, Armonk, New York 1961 Rare Wood table top collection. Trays, bowls, ice buckets, pepper mills. Dansk Designs 1961 Flamestone dinnerware, smooth stoneware. Dansk Designs 1964 Stick Chair, Brazilian rosewood, chromed steel and leather. Nissen, Langaa 1966 Simplicity barware. Glass. Dansk Designs 1967 Jette flatware. Handforged stainless steel, Dansk Designs 1968" (wikipedia.org) "Wednesday, April 26, 2017 Richard Nissen There were many companies producing teak housewares in the latter half of the 20th century, and the biggest by far was Dansk Designs. The originality and quality of the designs produced made them a sensation from their introduction in the 1950s well into the 1980s (and of course again today). The history of the company and the designer, Jens Quistgaard, is well-documented. Less is written about the other companies that followed that trend. Companies such as Digsmed, Laurids Lonborg, Ernest Sohn and others all made interesting designs in teak over the years, but in my experience the company that really hit the mark on quality rivaling that of Dansk was Richard Nissen of Denmark. So I guess I shouldn't have been surprised to discover that they were, in manufacturing at least, the same company. In the brief Dansk narrative I'd always heard, Dansk founder Ted Nieremberg and designer Quistgaard saved a failing barrel-making company by using them to produce Dansk products. It was only recently I discovered that Nissen is that barrel-making company. From 1954 until 1971 Quistgaard worked with the craftsmen at Nissen in Lingaa, Denmark, to make the staved teak trays, salad bowls, ice buckets, pepper mills and more that have become sought after by fans of Danish modern design. Dansk and Nissen stopped working together in 1971. I don't know why, but a few years later Dansk changed its official name to Dansk International Designs and production started coming out of other countries besides Denmark. One presumes efforts to ramp up production and/or cut costs. Richard Nissen himself had started producing his own designs sometime in the mid-1960s, with a focus on domestic Danish distribution, and by 1979 was the biggest producer of handcrafted goods in Denmark. Availability in the US was much smaller than Dansk, limited mostly to home goods specialty stores and design retailers. The 1980s were not kind to Danish modern design in general and Nissen did not escape the change in tastes. In 1990 the company was sold to the Danish company Bodum. We really only think of Bodum for press coffee pots these days, but years ago a roommate had a fantastic wooden cutting board by them. Maybe it was made in the Lingaa factory. I am a big fan of Nissen teak, even though it admittedly lacks some of the refinement of Jens Quistgaard's designs. Part of me likes that it is a bit less common, and part of me likes that the designs tend to feel a little thicker, and more substantial. My favorite personal find was a cylindrical ice bucket with a saddle leather strap that I kind of regret selling, Oh, and a handled salad bowl, that was really incredible. I've kept a cheese board or two, and several serving bowls that are smaller in scale and have these fantastic thick sides that I really love, and they look amazing stacked with lemons and limes when having a party. By the way, the funny way I discovered the Nissen-Dansk connection was by following my own hashtag on Instagram. With the elevation of Dansk pieces to collector's status, auction houses and gallery shows have finally started attributing the manufacturer to the designs. Once again, a thrift store find becomes a history lesson." (thankhugh.blogspot. com) "Scandinavian design is a design movement characterized by simplicity, minimalism and functionality that emerged in the early 20th century, and subsequently flourished in the 1950s throughout the five Nordic countries: Denmark, Finland, Norway, Sweden, and Iceland. Scandinavian designers are known especially for household goods including furniture, textiles, ceramics, lamps, and glass, but Scandinavian design has been extended to industrial design such as of consumer electronics, mobile phones, and cars. Overview In 1914, the Danish Selskabet for Dekorativ Kunst (Company for Decorative Arts) launched its Skønvirke [da] (literally "Graceful Work") magazine. Its title became the name of a new Danish style of arts and crafts, both in objects and in architecture, to rival Art Nouveau and Jugendstil.[1] From the 1930s, designers such as Alvar Aalto (architecture, furniture, textiles),[2] Arne Jacobsen (chairs),[2] Borge Mogensen (furniture),[2] Hans J. Wegner (chairs),[2] Verner Panton (plastic chairs),[2] Poul Henningsen (lamps),[2] and Maija Isola (printed textiles)[2] helped to create a "golden age of Scandinavian design".[2] Scandinavian textile artists became known for their pile rugs early in the 20th century, while brightly-coloured Scandinavian textiles became popular across the western world after the Second World War.[3][4][5] The Lunning Prize, awarded to outstanding Scandinavian designers between 1951 and 1970, was instrumental in making Scandinavian design a recognized commodity, and in defining its profile.[6] In 1954, the Brooklyn Museum held its "Design in Scandinavia" exhibition, and a fashion for "Scandinavian Modern" furniture began in America.[1][7][8] Scandinavian design is by no means limited to furniture and household goods. It has been applied to industrial design, such as of consumer electronics,[9] mobile phones,[10] and cars.[11] The concept of Scandinavian design has been the subject of scholarly debate, exhibitions and marketing agendas since the 1950s. Many emphasize the democratic design ideals that were a central theme of the movement and are reflected in the rhetoric surrounding contemporary Scandinavian and international design. Others, however, have analyzed the reception of Scandinavian design abroad, seeing in it a form of myth-making and racial politics. In the Nordic nations In Denmark Main article: Danish design Danish Design is a style of functionalistic design and architecture that was developed in mid-20th century. Influenced by the German Bauhaus school, many Danish designers used the new industrial technologies, combined with ideas of simplicity and functionalism to design buildings, furniture and household objects, many of which have become iconic and are still in use and production, such as Arne Jacobsen's 1958 Egg chair[13] and Poul Henningsen's 1926 PH-lamps.[14] After the Second World War, conditions in Denmark were ideally suited to success in design. The emphasis was on furniture but architecture, silver, ceramics, glass and textiles also benefitted from the trend. Denmark's late industrialisation combined with a tradition of high-quality craftsmanship formed the basis of gradual progress towards industrial production. In Finland Further information: Design Forum Finland and Design Museum, Helsinki Finnish design spans clothing, engineering design, furniture, glass, lighting, textiles, and household products.[16] The "Design from Finland" mark was created in 2011.[17] Finland's Design Museum (formerly called the Museum of Art and Design) has a collection founded in 1873, while Helsinki's University of Art and Design, established in 1871, now forms part of Aalto University.[18] Prominent Finnish designers include Alvar Aalto (vases, furniture),[19] Aino Aalto (glassware),[19] Kaj Franck (glass, tableware),[19] Klaus Haapaniemi [fi] (fabric prints),[19] Simo Heikkilä (furniture),[20] Kristina Isola (textiles),[19] Maija Isola (Marimekko prints),[19] Harri Koskinen (glass, homeware),[19] Mika Piirainen [fi] (clothing, accessories),[19] Timo Sarpaneva (glass, homeware),[19] Oiva Toikka (glass art),[19] Tapio Wirkkala (glass art, glassware),[19] Eero Aarnio (plastic furniture),[19] Sanna Annukka [fi] (screenprints),[19] Anu Penttinen [fi] (glass),[19] Aino-Maija Metsola [fi] (textiles, homeware),[19] and Maija Louekari [fi] (tableware, homeware). In Iceland Design in Iceland is a relatively young tradition, starting in the 1950s but now growing rapidly. The country's limited options for manufacturing and its constrained choice of materials have both forced designers to be innovative, though wool remains a staple material, whether felted or knitted. Iceland's Museum of Design and Applied Art, aiming to record Icelandic design from 1900 onwards, opened in 1998.[21] The Iceland Academy of the Arts was also founded in 1998, soon followed by its Faculty of Architecture and Design, which has promoted a distinctively Icelandic character in the nation's design. In Norway Further information: Norwegian Design Council Norwegian design has a strong minimalist aesthetic.[23] Designed items include lamps and furniture. Qualities emphasised include durability, beauty, functionality, simplicity, and natural forms.[24] The Norwegian Centre for Design and Architecture, "DogA", is housed in a former transformer station in Oslo.[25] Norway holds an annual design exhibition called "100% Norway" at the London Design Fair.[26][27] Prominent Norwegian furniture designers include Hans Brattrud,[28] Sven Ivar Dysthe,[29] Olav Eldøy,[30] Olav Haug,[31] Fredrik A. Kayser,[32] and Ingmar Relling. In Sweden Further information: Swedish Centre for Architecture and Design Swedish design is considered minimalist, with an emphasis on functionality and simple clean lines. This has applied especially to furniture. Sweden is known for traditional crafts including glass and Sami handicrafts. Swedish design was pioneered by Anders Beckman [sv] (graphics),[34] Bruno Mathsson (furniture),[35] Märta Måås-Fjetterström[35] and Astrid Sampe (textiles),[35] and Sixten Sason (industrial).[35] Organisations that promote design in Sweden are Svensk Form [sv], the Swedish Society of Crafts and Design, founded in 1845; the Swedish Industrial Design Foundation [sv], known as SVID; the Swedish Arts Council; and the Swedish Centre for Architecture and Design (known as ArkDes) on the island of Skeppsholmen in Stockholm, beside the modern art museum." (wikipedia.org) "Danish modern is a style of minimalist furniture and housewares from Denmark associated with the Danish design movement. In the 1920s, Kaare Klint embraced the principles of Bauhaus modernism in furniture design, creating clean, pure lines based on an understanding of classical furniture craftsmanship coupled with careful research into materials, proportions, and the requirements of the human body. Designers such as Arne Jacobsen and Hans Wegner helped bring about a thriving furniture industry from the 1940s to the 1960s. Adopting mass-production techniques and concentrating on form rather than just function, Finn Juhl contributed to the style's success. Additionally, minimalist Danish housewares such as cutlery and trays of teak and stainless steel and dinnerware such as those produced in Denmark for Dansk International Designs in its early years, expanded the Danish modern aesthetic beyond furniture. History A row of brown, wooden chairs with a seat made of some woven material Origin Between the two world wars, Kaare Klint exerted a strong influence on Danish furniture making. Appointed head of the Furniture Department at the Architecture School of the Royal Danish Academy of Fine Arts, he encouraged his students to take an analytical approach, adapting design to modern-day needs. Adopting the Functionalist trend of abandoning ornamentation in favour of form, he nonetheless maintained the warmth and beauty inherent in traditional Danish cabinet making, as well as high-quality craftsmanship and materials.[1] The development of modern Danish furniture owes much to the collaboration between architects and cabinetmakers. Cabinetmaker A. J. Iversen, who had successfully exhibited furniture from designs by architect Kay Gottlob at the International Exposition of Modern Industrial and Decorative Arts in 1925 in Paris, was instrumental in fostering further partnerships. In 1927, with a view to encouraging innovation and stimulating public interest, the Danish Cabinetmakers Guild organized a furniture exhibition in Copenhagen which was to be held every year until 1967. It fostered collaboration between cabinetmakers and designers, creating a number of lasting partnerships including those between Rudolph Rasmussen and Kaare Klint, A. J. Iversen and Ole Wanscher, and Erhard Rasmussen and Børge Mogensen. From 1933, collaboration was reinforced as a result of the annual competition for new types of furniture, arranged each year prior to the exhibition.[2][3] In 1931, another key institution in the development of Danish Modern formed; The Association of Arts (Danish: Forening for Kunsthaandværk) founded a permanent venue for arts and craft called Den Permanente [da].[4] Start of the Golden Age In the postwar years, Danish designers and architects believed that design could be used to improve people's lives. In the late 1940s, the growing middle class in Denmark began to show interest in Danish Modern and helped fuel further investment into the style.[5] Particular attention was given to creating affordable furniture and household objects that were both functional and elegant. Fruitful cooperation ensued, combining Danish craftsmanship with innovative design. Initially, the furniture was handmade, but recognizing that their work would sell better if prices were reduced, the designers soon turned to factory production. The scarcity of materials after World War II encouraged the use of plywood. In the late 1940s, the development of new techniques led to the mass production of bent plywood designs by Hans Wegner and Børge Mogensen, both of whom produced chairs with a teak plywood seat and back on a beech frame. In 1951, Arne Jacobsen went even further with his sculptural Ant Chair with a one-piece plywood seat and back, bent in both directions. Collapsible chairs dating from the 1930s include Kaare Klint's Safari Chair and propeller stools which were also developed by Poul Kjærholm and Jørgen Gammelgaard.[6] Danish furniture exports grew from just DKK 0.8 million in 1939 to DKK 6.8 million in 1944.[7] The international market Interest in Danish Modern in the United States began when Edgar Kaufmann, Jr. from the Museum of Modern Art purchased some items for the Fallingwater home designed by Frank Lloyd Wright.[8] This ultimately led to mass-production in the United States, too.[9] From the beginning of the 1950s, American manufacturers obtained licenses for the mass production of Danish designs while maintaining high standards of craftsmanship. Later, the designs were altered to suit American tastes and American parts were introduced to reduce costs. When Sears and Woolworth's entered the market, the Danes countered by producing new designs based on new materials. One of Wegner's works was used by Richard Nixon and John F. Kennedy in a 1960 televised debate and is now known simply as The Chair.[10] A largely intact, and comprehensive, example are the buildings of St Catherine's College, Oxford in England. Designed by Arne Jacobsen between 1960 and 1966, the buildings were given the highest Grade I designated status by Historic England in 1993.[11] In addition to the buildings themselves, Jacobsen designed almost all of the furniture, lighting, textiles and metalwork used on the site.[12] Furniture exports from Denmark rose from DKK 9.8 million in 1953 to DKK 257.8 million in 1964. This was aided in part by Denmark's decision to copy the British 30% devaluation in September 1949, which brought down the price of Danish goods drastically for American consumers.[13] Decline in popularity Sales peaked around 1963, but when American manufacturers introduced molded plastic and wood-grained Formica as cheaper substitutes, they started to decline in favor of Mediterranean designs which became popular in 1966.[8][14] In addition to changes in style preferences, customers' shopping habits had changed to favor affordable and lower-cost furniture over a single investment that would last their lifetime.[15] A 1980 New York Times article observed that Danish modern "went out of style" in the United States, due in part to counterculture, "which would have none of the earnest establishment image of Scandinavian design", and the "new culture, for which only the shocking is chic".[16] Many factories closed during this time and the Cabinetmakers' Guild Exhibition held its final event in 1966 after too few cabinetmakers remained in Copenhagen to sustain it.[17] Resurgence of interest In the late 1990s, Danish modern, and the broader mid-century modern movement, experienced a revival in international interest.[18] While the mass-produced works of Wegner, Juhl and Jacobsen are still in demand, collectors are increasingly turning to limited production items from these and the other designers. In the United States, while prices have increased, they are still at reasonable levels compared to similar items of new furniture. Licensed manufacturers have started reissuing key designs, while others have used Danish Modern for inspiration.[19] The Danish furniture industry today Employing some 15,000 people each year, Denmark's 400 furniture companies produce goods worth around DKK 13 billion (€1.75 billion). A highly productive sector, over 80% of the furniture produced is sold abroad making furniture Denmark's fifth most-important export industry. Most of the items produced are for the home, but many are designed for the workplace. In addition to its classic designs, Danish designer furniture benefits from a new generation of innovative players. As a result, Denmark has maintained its place as the world's leading furniture producer in relation to the country's population.[20] A number of firms continue to be active in producing both classic Danish Modern designs and in introducing variants designed by a new generation of artists. They include Republic of Fritz Hansen, Fredericia Furniture, Carl Hansen & Søn and Normann Copenhagen, all of whom exhibited at the 2011 Salone Internazionale del Mobile in Milan.[21] Other significant producers include PP Møbler, Kjærholm Production and One Collection, formerly known as Hansen & Sørensen.[citation needed] However, a large amount of Danish furniture is now produced outside of Denmark. Production has been outsourced to aboard where costs are lower, mainly Baltic countries and eastern and southern Europe. Republic of Fritz Hansen, for example, has moved their production to Poland.[22] New types of Danish design companies have emerged with both national and international appeal in recent years. Normann Copenhagen, HAY, Muuto, Kähler are among new firms that carry Danish modern design principles forward.[22] Innovative design work is also encouraged by the Wilhelm Hansen Foundation with the annual Finn Juhl Prize which is awarded to designers, manufacturers or writers who have made a special contribution to the field of furniture design, especially chairs....In popular culture The Cat Who Ate Danish Modern (1967): The second novel of American writer Lilian Jackson Braun's The Cat Who... In The Brady Bunch Season 2, Episode 18 — in "Our Son, the Man" the family house's den is referred to as being Danish modern. In House, M.D. Season 3, Episode 6 — in "Que Sera Sera" House's interior design preferences (as well as his patient, George's) are called Danish modern." (wikipedia.org) "Teak (Tectona grandis) is a tropical hardwood tree species in the family Lamiaceae. It is a large, deciduous tree that occurs in mixed hardwood forests. Tectona grandis has small, fragrant white flowers arranged in dense clusters (panicles) at the end of the branches. These flowers contain both types of reproductive organs (perfect flowers). The large, papery leaves of teak trees are often hairy on the lower surface. Teak wood has a leather-like smell when it is freshly milled and is particularly valued for its durability and water resistance. The wood is used for boat building, exterior construction, veneer, furniture, carving, turnings, and various small projects.[3] Tectona grandis is native to south and southeast Asia, mainly Bangladesh, India, Indonesia, Malaysia, Myanmar, Thailand, and Sri Lanka, but is naturalised and cultivated in many countries in Africa and the Caribbean. Myanmar's teak forests account for nearly half of the world's naturally occurring teak.[4] Molecular studies show that there are two centres of the genetic origin of teak: one in India and the other in Myanmar and Laos. Description Teak is a large deciduous tree up to 40 m (131 ft) tall with grey to greyish-brown branches, known for its high-quality wood. Its leaves are ovate-elliptic to ovate, 15–45 cm (5.9–17.7 in) long by 8–23 cm (3.1–9.1 in) wide, and are held on robust petioles which are 2–4 cm (0.8–1.6 in) long. Leaf margins are entire. Fragrant white flowers are borne on 25–40 cm (10–16 in) long by 30 cm (12 in) wide panicles from June to August. The corolla tube is 2.5–3 mm long with 2 mm wide obtuse lobes. Tectona grandis sets fruit from September to December; fruits are globose and 1.2–1.8 cm in diameter.[7] Flowers are weakly protandrous in that the anthers precede the stigma in maturity and pollen is shed within a few hours of the flower opening.[8] The flowers are primarily entomophilous (insect-pollinated), but can occasionally be anemophilous (wind-pollinated).[9] A 1996 study found that in its native range in Thailand, the major pollinators were species in the bee genus Ceratina.[8] Wood Wood texture is hard and rings are porous. The density varies according to moisture content: at 15% moisture content it is 660 kg/m3.[10] The heartwood is yellowish to golden-brown. Sapwood is whitish to pale yellowish brown. It can easily separate from heartwood.[citation needed] Teak darkens as it ages. There can be a large variation, depending on which region the teak is from. Old growth has much tighter rings than new growth.[11] There is a leather-like scent in newly cut wood.[12] Botanical history Tectona grandis was first formally described by Carl Linnaeus the Younger in his 1782 work Supplementum Plantarum.[13] In 1975, Harold Norman Moldenke published new descriptions of four forms of this species in the journal Phytologia. Moldenke described each form as varying slightly from the type specimen: T. grandis f. canescens is distinguished from the type material by being densely canescent or covered in hairs, on the underside of the leaf, T. grandis f. pilosula is distinct from the type material in the varying morphology of the leaf veins, T. grandis f. punctata is only hairy on the larger veins on the underside of the leaf, and T. grandis f. tomentella is noted for its dense yellowish tomentose hairs on the lower surface of the leaf.[14] Etymology The English word teak comes via the Portuguese teca from Malayalam tekka (cognate with Tamil tekku, Telugu teku, and Kannada tegu) via Sanskrit "shaka" and "saka".[15][16][17] Central Province teak and Nagpur teak are named for those regions of India.Distribution and habitat Tectona grandis is one of three species in the genus Tectona. The other two species, T. hamiltoniana and T. philippinensis, are endemics with relatively small native distributions in Myanmar and the Philippines, respectively.[19] Tectona grandis is native to India, Bangladesh, Sri Lanka, Indonesia, Myanmar, northern Thailand, and northwestern Laos.[7][8] Tectona grandis is found in a variety of habitats and climatic conditions from arid areas with only 500 mm of rain per year to very moist forests with up to 5,000 mm of rain per year. Typically, though, the annual rainfall in areas where teak grows averages 1,250–1,650 mm with a 3–5 month dry season....Uses Teak's high oil content, high tensile strength, and tight grain make it particularly suitable where weather resistance is desired. It is used in the manufacture of outdoor furniture and boat decks. It is also used for cutting boards, indoor flooring, countertops, and as a veneer for indoor finishings. Although easily worked, it can cause severe blunting on edged tools because of the presence of silica in the wood. Over time teak can weather to a silvery-grey finish, especially when exposed to sunlight.[26] Teak is used extensively in India to make doors and window frames, furniture, and columns, and beams in homes. It is resistant to termite attacks and damage caused by other insects. Mature teak fetches a very good price. It is grown extensively by forest departments of different states in forest areas. It was also used in the construction of the Kaaba in the Masjid al-Haram of Mecca, which is the holiest structure in the Islamic faith.[27] Leaves of the teak wood tree are used in making Pellakai gatti (jackfruit dumpling), where batter is poured into a teak leaf and steamed.[28] This type of usage is found in the coastal district of Udupi in the Tulunadu region in South India. The leaves are also used in gudeg, a dish of young jackfruit made in Central Java, Indonesia, and give the dish its dark brown colour....World's largest living teak tree Ministry of Environmental Conservation and Forestry (Myanmar) found the world's two biggest living teak trees on 28 August 2017 in Homalin Township, Sagaing Region, Myanmar. The biggest one, named Homemalynn 1, is 27.5 feet (8.4 m) in girth and 110 feet (34 m) tall. The second biggest one, named Homemalynn 2, is 27 feet (8.2 m) in girth.[46] Previously, the world's biggest recorded teak tree was located within the Parambikulam Wildlife Sanctuary in the Palakkad District of Kerala in India, named Kannimara. The tree is approximately 47.5 metres (156 ft) tall. Its age is between 450 and 500 years and is considered one of the oldest teak trees in the world.[47][48] In 2017, a tree was discovered in the Ottakallan area of the Thundathil range of the Malayattoor Forest Division in Kerala with a girth of 7.65 metres (25.1 ft) and a height of 40 metres (130 ft).[49] A teak tree in Kappayam, Edamalayar, Kerala, which used to be considered the biggest, has a girth of 7.23 metres.[49] Tree No. 23 is the oldest planted teak on earth. It is located in Conolly's plot (the world's oldest teak plantation), Nilambur, Kerala." (wikipedia.org) "A tray is a shallow platform designed for the carrying of items. It can be fashioned from numerous materials, including silver, brass, sheet iron, paperboard, wood, melamine, and molded pulp. Trays range in cost from inexpensive molded pulp trays which are disposable and inexpensive melamine trays used in cafeterias, to mid-priced wooden trays used in a home, to expensive silver trays used in luxury hotels. Some examples have raised galleries, handles, and short feet for support. Trays are flat, but with raised edges to stop things from sliding off them. They are made in a range of shapes but are commonly found in oval or rectangular forms, sometimes with cutout or attached handles with which to carry them. A more elaborate device is the tray table, which is designed to accommodate a tray, or to serve as a tray itself. There are two primary kinds of tray tables. The TV tray table is typically a small table, which may have legs that fold to allow it to be carried like a tray. The airplane tray table is a tray built into the back of an airline seat, which folds down so that the person sitting in the seat behind the one containing the table can use it as a surface from which to eat meals served on the airplane. Examples A butler's tray often has a gallery, or deeper surround, handles on the long sides to facilitate carrying (usually cut into the surround), and a portable stand with folding legs. It is used for the service of drinks and generally serves as a convenient side table. A cafeteria tray is used for carrying items in a cafeteria. It is typically made of plastic or fiberglass. A compartment tray or mess tray is a cafeteria tray designed to be used directly, without dishes - it incorporates shallow compartments in which different types of food are placed." (wikipedia.org) "A lazy Susan is a turntable (rotating tray) placed on a table or countertop to aid in distributing food. Lazy Susans may be made from a variety of materials but are usually glass, wood, or plastic. They are circular and placed in the centre of a table to share dishes easily among diners. Owing to the nature of Chinese cuisine, especially dim sum, they are common at formal Chinese restaurants both in mainland China and abroad. In Chinese, they are known as 餐桌转盘 (t. 餐桌轉盤) (p cānzhuō zhuànpán) or "dinner-table turntables". History It is likely that the explanation of the term "lazy Susan" has been lost to history.[1][2][3] Folk etymologies claim it as an American invention. According to lore, Thomas Jefferson invented the device, which was known as a "dumbwaiter", for his daughter Susan. Regardless of the origins of the name, by 1917 it was advertised in Vanity Fair[4] as "Ovington's $8.50 mahogany 'Revolving Server or Lazy Susan'",[5] but the term's use predates both the advertisement and, probably, the country. Part of the mystery arises from the variety of devices that were grouped under the term "dumb waiter" (today written dumbwaiter). An early 18th-century British article in The Gentleman's Magazine describes how silent machines had replaced garrulous servants at some tables[6] and, by the 1750s, Christopher Smart was praising the "foreign" but discreet devices in verse.[7] It is, however, almost certain that the devices under discussion were wheeled serving trays similar to those introduced by Thomas Jefferson to the United States from France,[8] where they were known as étagères.[8] At some point during or before the third quarter of the 18th century, the name dumb waiter also began to be applied to rotating trays.[1] (Jefferson never had a lazy Susan at Monticello, but he did construct a box-shaped rotating book stand and, as part of serving "in the French style", employed a revolving dining-room door whose reverse side supported a number of shelves.[9]). By the 1840s, Americans were applying the term to small lifts carrying food between floors as well.[1] The success of George W. Cannon's 1887 mechanical dumbwaiter popularised this usage, replacing the previous meanings of "dumbwaiter". The lazy Susan was initially uncommon enough in the United States for the utopianist Oneida Community to be credited with its invention. They employed the devices as part of their practice of communal living, making food easily and equally available to residents and visitors at meals.[10] An American patent was issued in 1891 to Elizabeth Howell for "certain new and useful Improvements in Self-Waiting Tables". Howell's device ran more smoothly and did not permit bread crumbs to fall into the space between the lazy Susan and the table. Despite various folk etymologies linking the name to Jefferson's and Edison's daughters, the earliest use of these "serviettes" or "butler's assistants"[13][10] being called a lazy Susan dates to the 1903 Boston Journal: John B. Laurie, as the resuscitator of "Lazy Susan", seems destined to leap into fortune as an individual worker. "Lazy Susan" is a step toward solving the ever-vexing servant problem. She can be seen, but not heard, nor can she hear, she simply minds her business and carries out your orders in a jiffy. Laurie was a Scottish carpenter who made his "lazy Susan" to the personal specifications of a Hingham-area woman. Unfortunately he presented this gift to her too late, which caused her to unleash an abusive tirade upon Laurie. When she finally asked him for the price, he "told her it wasn't for sale, though of course it is".[14][10] The name was repeated in a 1911 Idaho Statesman article – which describes it as "a cousin to the 'curate's assistant', as the English muffin stand is called"[15][10] – and again in the 1912 Christian Science Monitor, which calls the "silver" lazy Susan "the characteristic feature of the self-serving dinner table".[16] By the next year, the Lima Daily News described an Ohioan "inaugurat[ing] ... the 'Lazy Susan' method of serving".[17] Henry Ford used an enormous one on his camping trips in the 1920s to avoid bringing a full contingent of servants along with his guests.[3] In 1933, the term was added to the Webster's Dictionary.[18] Unusually, the 1916 American Cookery describes the device as a German invention:[19][10] There is a table arrangement used much in Germany, which has now found its way to America, though it is still by no means common. The German frau calls it "Lazy Susan", but it is entirely different from our product used for salt and pepper shakers. Its only point of similarity is the swivel upon which it turns. The one which joys my heart is of mahogany, and it turns automatically at the slightest touch. It contains seven china dishes, six of which are trapezoids, the center one being octagonal. The trapezoids fit about the center octagon, forming a perfect whole. By 1918, Century Magazine was already describing the lazy Susan as out of fashion,[20] but beginning in the 1950s its popularity soared once again after the redesign and reintroduction of the lazy Susan by George Hall, an engineer, soy sauce manufacturer, and partner in popular San Francisco-area Chinese restaurants (Johnny Kan's, Ming's of Palo Alto and John Ly's Dining), and the rotating tray became ubiquitous in Chinese restaurants and was used in homes around the globe.[21] The decline in America's domestic service sector after World War I and its collapse following World War II,[22] combined with the post-war Baby Boom, led to a great demand for them in US households across the country in the 1950s and 1960s. This popularity has had the effect, however, of making them seem kitsch in subsequent decades.[3] Other uses The term is infrequently used for the much older turntables employed in pottery wheels and related tasks like sculpture, modeling, repair work, etc." (wikipedia.org)

Price: 174.99 USD

Location: Santa Ana, California

End Time: 2025-01-12T01:52:26.000Z

Shipping Cost: 17.01 USD