kaare klint

k l i n t i a n a2

gorm harkær

Frontispiece: Kaare Klint’s sister Helle was a sculptor and modeled the portrait head of her 22-year-old little brother. No. 85 in the list of works. Plaster. 1910. 35.0 ! 20.0 ! 22.5 cm.

dmad, inv. no. 119/2000. Photo: Pernille Klemp, 2010.

End paper: Reproduced from the end paper for altar books designed byKaare Klint and Mogens Koch for the Society for Applied Church Art. Kochdrew the pattern direct on the lithographic stones at the master book-binder Anker Kyster’s workshop, where the paper was printed and thebooks were bound. 1928.

Printed in cinnabar from the original lithograph. dnal, Col.

5contents

Contents

vo lu m e 2

Biographical data 9Family 9Employment and positions of trust 11Grants, travel grants, distinctions 11Travels 11

Abbreviations 12

List of works 13Apartment buildings 13Automobiles 13Churches 13

Church furnishings 14– Altar books 14– Altar vessels 14– Candlesticks 18

Clocks 18Commercial premises 19Competitions 19

With entries by Kaare Klint 19With Kaare Klint on the jury 19

Decorative and applied art 19Exhibitions

In which Kaare Klint participated 21Designed by Kaare Klint 22About Kaare Klint 22

Fountains 22Furniture 23

Beds 23Chairs 24– Armchairs 24– Armless chairs 28– Benches 31– Easy chairs 32– Stools 36Outdoor furniture 37– Armchairs 37– Benches 37– Tables 37Sofas 37

Storage pieces 42– Bookcases and bookshelves 42– Bureaus and chests of drawers 45– Dining-room cabinets, buffets,

and sideboards 46– Frame systems 49– Other types 49– Showcases 51– Wardrobes 54Tables, desks, podiums 54– Card tables 54– Conference and dining tables 56– Desks and worktables 60– Other types 65– Serving tables 66– Small tables 68– Standing desks and podiums 70

Gardens and parks 70Grand pianos 71Graphic work 71

Letterheads 71Bookplates, logos, and trademarks 71Postage stamps 72Posters 73Printed matter 73Signs 74

Industrial premises 74Lamps 74Libraries 76Lighting 76Monuments 76Museums 78Organs 78Pharmacies 78Sepulchral monuments 78Single-family houses 78Stoves 79Textiles 79

Antependia 79Bedspreads 79

Carpets 80Drawer liners 82Upholstery fabrics 83Wall hangings 84

Visual Art 85Portraits 85– Kaare Klint in portraits 85– “Krøyer’s art school” 85– Self-portraits 86– Portraits of the family 86– Portraits of friends 87Motifs – With interiors, still lifes 89– From Blåvand 90– From Java 90– Studies from the Borobudur temple

complex on Java 91– From Kighavn 92– From Paris 93– From Horneby 94– From Viken, Sweden 95– From Spain 95– From the Deer Park 96– From Randkløve 97– From Norway 97Decorative work 102

Sources 103Persons 103Institutions 104Archives 105Photographers 106Glossary 107Key words for the bibliography 109 Bibliography 111

Index of persons in Volume 1 157

kaare klint · 216

Individual cup. Small beaker ona wide foot. With Mogens Koch.Chapter 16. Society for Applied Church Art,Group 1, no. 2.J.Holm, Copenhagen, from 1928.Later made by other workshops.Silver, parcel gild; pewter; orplate. H: 5.8, Ø: 5.7.

Collection: Roskilde Cathedral, 1928 (silver). Photos: roskilde museum, 2010.

Individual cup. Small cast beaker without foot, with the monogramsymbol of Christ (IHS) under the base. With Mogens Koch. Chapter16.Society for Applied Church Art, Group 1, no. 15. J. Holm, Copenhagen, from 1930. Later made by other workshops.Pewter.

H: 5.3, Ø: 5.7.Collection: Society for Applied Church Art (pewter).Photos: dnal, Col./Gorm Harkær, 2003.

Ciborium. Low cylindrical shape, with the monogram symbol ofChrist (IHS) chased on the lid. With Mogens Koch. Chapter 16.Soci ety for Applied Church Art, Group 1, no. 19. Can be stacked as apart of the set with paten (Group 1, no. 19) and chalice (Group 1, no. 12). J.Holm, Copenhagen, from 1929. Later made by other workshops.Silver. H: 4.0, Ø: 10.5.Collection: Society for Applied Church Art (silver and pewter).Photo: mogens s. koch/Mogens Koch, 1943.

Ciborium. Hexafoil shape with the monogram symbol of Christ(IHS) chased on the lid. With Mogens Koch. Chapter 16.Society for Applied Church Art, Group 1, no. 20. Paired with the paten(Group 1, no. 20). J. Holm, Copenhagen, from 1930. Later made by other workshops.Silver. H: 3.5, Ø: 11.0.Collection: Society for Applied Church Art. Photo: mogens s. koch/Mogens Koch, 1943.

Paten. Metal plate engraved or chased with the monogram symbol ofChrist (IHS). With Mogens Koch. Chapter 16.Society for Applied Church Art, Group 1, no. 19. Can be stacked as apart of the set with ciborium (Group 1, no. 19) and chalice (Group 1,no. 12).J. Holm, Copenhagen, from 1929. Later made by other workshops.Silver or pewter. Ø: 17.0.Collection: Society for Applied Church Art (pewter).The paten for the church in Frederiks is silver, with engraved inscrip-tion and decoration. J.Holm, Copenhagen, 1929. Ø: 19.7.Photo: dnal, Col./Gorm Harkær, 2003.

Paten. Metal plate engraved or chased with the monogram symbol ofChrist (IHS). With Mogens Koch. Chapter 16.Society for Applied Church Art, Group 1, no. 20. Part of the set withciborium (Group 1, no. 20) and chalice (Group 1, no. 1).J.Holm, Copenhagen, from 1929. Later made by other workshops.Silver or pewter. Ø: 20.4.Collection: Society for Applied Church Art (silver).

Ewer for wine or baptismal water. Lid engraved or chased withthe monogram symbol of Christ (IHS). With Mogens Koch. Chapter 16.Society for Applied Church Art, Group 1, no. 4.J. Holm, Copenhagen, from 1930. Later made by other workshops.Silver or pewter. H: 21.0, Ø: 12.5.Collection: Society for Applied Church Art (silver).Photo: dnal, Col./Mogens Koch, n.d.

Baptismal basin. Metal plate engraved or chased with the mono-gram symbol of Christ (IHS). With Mogens Koch. Chapter 16.Society for Applied Church Art, Group 1, no. 29.

J.Holm, Copenhagen, from 1930. Later made by other workshops.Silver or pewter. Ø: same as baptismal font.Collection: Society for Applied Church Art (pewter).The baptismal basin for the church in Frederiks is pewter, engravedwith the monogram symbol of Christ (IHS). J.Holm, Copenhagen, 1930. Ø: 32.0.Photo: dnal, Col./Gorm Harkær, 2003.

17list of works

The chair was later made witharms not upholstered.Photos: dmad/Erik Hansen, 1956.dmad/Erik Hansen, 1956 (detailof arm).

This roundabout desk chair with the circular seat and semicircularback is modeled on a “mayor’s chair.” The working drawing was madeby Ejnar Rasmussen as Klint’s pupil at the Academy. Chapter 8. Rud. Rasmussens Snedkerier, Copenhagen. Model no. 4559.Cuban mahogany. A few chairs made from 1932. H: 79.5, Ø: 73.0. Collection: Ny Carlsberg Foundation.Photo: rr/photographer unknown, 1932.

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Desk chair with thick upholstery on the seat, back, and sides.The upholstery on the sides provides elbow support, but stops wherethe arms form handles at the end.The working drawing was made byOrla Mølgaard-Nielsen as Klint’s pupil at the Academy. Chapter 10. Rud. Rasmussens Snedkerier, Copenhagen. Model no. 4483.Cuban mahogany. A few chairs made from 1932. H: 92.0, W: 66.0, D: 65.5.Private collection.Photo: rr/photographer unknown, 1932.

27list of works

Desk chair with leather upholst -ery. Made as a wedding present forCrown Prince Fred erik (IX) andCrown Princess Ingrid, togetherwith a desk. Chapter 8.Rud. Rasmussens Snedkerier,Copenhagen. Model no. 5121.Rosewood, undyed Niger goatskin.1935. One of a kind. H: 29 1/4, W: 22 1/2, D: 22 1/2 GB in. Collection: H.M.Queen Margrethe.Photo: rr/photogr. unknown, 1935.

The tall-backed armchair that has no open space between the seatand back is a variant of the Red Chair. It was dubbed the Nørrevoldchair, as it was designed for the office building on Nørre Voldgadethat Povl Baumann had designed. Chapter 5.Rud. Rasmussens Snedkerier, Copenhagen. Model no. 5999.Cuban mahogany. 1939. About a dozen chairs made.H: 110.0 /45.0, W: 62.0, D: 60.0.Private collection.Photo: rr/photographer unknown, 1939.

Spindle-back chair with armrests.The seat was first woven ofrush, later of twine. The same type as the largest armless church chair.Designed for the vestry of the Grundtvig Church. Chapter 2. Fritz Hansens Eftf., Copenhagen. Model no. 4233.Beech or oak. Made from 1939 to 2004.Bernstorffsminde Møbelfabrik, Stenstrup. Large-scale production from2005.H: 85.6 /45.7, W: 58.6, D: 55.3. Collection: Grundtvig Church.Photo: fritz hansen/Aage Strüwing, n.d.

Variants:See FURNITURE / Chairs – Benches, p. 31.

The “fireside chair” is a variant the Red Chair, but its arms have asofter curve. The seat and back are upholstered with fabric.The chairwas designed for the “fireside room” at the Rud. Rasmussen stand.Chapter 11.Rud. Rasmussens Snedkerier, Copenhagen. Model no. 6236.Cuban mahogany. A few chairs made from 1941.H: 88.0, W: 61.5, D: 54.0.Exhibitions: Copenhagen Cabinetmakers’ Guild Furniture Exhibition,1941.Private collection.

The four chairs with their own card table are a study in composi-tion in the art of furniture design. In order to clarify the individualparts, a chair was taken aside and shown here.The suite was displayedat the Rud. Rasmussen stand as being intended for a lady. The Danish

FURNITURE / Chairs – Easy chairs

The tall-backed armchairwith armrests was designedfor Valborg Andersen. It has athick seat cushion and thinnerback cushion.The legs have casters. Chapter 1.V. Bloch-Jørgensen, Copenhagen.Rosewood. 1913. Two chairsmade.Dimensions unknown.Private collection. Photo: dnal, Col. /Mogens S. Koch, 1976.

“‘Mix’ (a mixture of Kindt andKlint),” wrote Kaare Klint on asketch of the chair, and in doingso hinted that Edvard Kindt-Larsen had made the workingdrawing as part of a school pro j -ect. N.C. Jensen Kjær made thefirst chairs in around 1930 andKindt-Larsen had them at home.Klint used a photograph of themto illustrate his article on his

teaching at the Academy in the journal Architekten in 1930. Chapter 11.Rud. Rasmussens Snedkerier, Copenhagen. Model no. 4396.Mahogany. Made from 1931 and still in production.H: 78.0, W: 65.0, D: 80.0.Exhibitions: Copenhagen Cabinetmakers’ Guild Furniture Exhibition,1937. Private collection. Photo: rr/photographer unknown, 1931.

“The English chair” is in prin-ciple a copy of a piece that hadbeen drawn to Klint’s attentionand that he considered was soperfect that he had to recreateit. This easy chair has a cane seat,back, and sides, with loose cush-ions for the seat and back. Thelegs have casters. There arerosewood inlays on the edgesand apron. Chapter 11.

Rud. Rasmussens Snedkerier, Copenhagen. Model no. 4488.Cuban mahogany. Many chairs made from 1931.H: 90.5, W: 61.5, D: 71.5.

Exhibitions: Copenhagen Cabinetmakers’ Guild Furniture Exhibition,1931. Private collection. Photo: rr/photographer unknown, 1931.

Deckchair with armrests and footrest.The footrest can be re-tracted under the seat so that the chair can be folded. Seat, back, andfootrest with rattan. Loose cushion and neck rest. Chapter 11.Rud. Rasmussens Snedkerier, Copenhagen. Model no. 4699.Teak or oak. Made from 1933 and still in production.H: 36, W: 59, D: 23 GB in.Exhibitions: Copenhagen Cabinetmakers’ Guild Furniture Exhibition,1933.

kaare klint · 232

Collection: dmad, inv. no. 1934/39Photos: dnal, Col./Jonals Co., 1933 (with cushion).dnal, Col./Erik Hansen, 1953 (without cushion).dnal, Col./Erik Hansen, 1953 (folded).

33list of works

Safari chair (Indian Roorkhee chair).The chair can be disassembledwithout the use of tools. It has a tilting back and arm straps.The seatis stretched between the rods.The prototype was made of teak, withthe seat and back of leather. Later chairs were made of mahogany, but

FURNITURE / Tables, desks, podiums – Small tables

Table for the archives room at the Faaborg Museum.The circular toprests on a frame with a tall apron and three legs that enclose a shelf.Chapter 3.N. M. Rasmussen, Holbæk. Oak burl (frame), marble (top). 1914. One of a kind. Frame H: 28 1/2, Ø: 41 3/4; top H: 1, Ø: 381/3 DK in.Collection: Faaborg Museum.

Variant: For Knud Gjellerup. Chapter 4.Photo: dmad/Erik Hansen, 1956.

Table for Dansk Kunsthandel,with circular top and twodrawer shelves. Chapter 6.N.C. Jensen Kjær, Copenhagen.Cuban mahogany. 1917.Two tables made. H: 28 1/4, Ø: 34 DK in.Collection: dmad, inv. no. 1921/529 and the David Collection.Photo: dnal, Col./photographerunknown, 1919.

Variant:For William Bendix. Chapter 6.Brdr. H.P. og L. Larsen, Copenhagen. Details and whereabouts unknown.

Tray table, painted wood. The base has three legs with frames joinedby a hinge so that it can be folded up. Lists on the hexagonal top holdthe legs in place.

kaare klint · 268

Cabinetmaker unknown. 1924.H: 24, W: 32 DK in.Private collection.The drawing is shown 1:20, with details 1:5. dnal, Col.Photos: dnal, Col./Jørgen Watz, 1989.

69list of works

The tray table was made for Vagn Jacobsen’s villa, Svastika, whosedining-room furniture was designed by Klint. It was described as beingused for tea or lunch.The separate circular top rests on three trestlesarranged to form the radius of the circle.The trestles consist of twosix-sided legs attached to an apron and a rung.The three legs arejoined in the center with special hinges. When a pin is removed fromthe hinges, the frame can be folded.The legs have brass ferrules.Chapter 5.N.C. Jensen Kjær, Copenhagen. Rosewood. 1928. One of a kind.H: 73.5, Ø: 109.0.Collection: Museum of National History at Frederiksborg Castle, inv.no. B 2785.Photos: mnhfc/photographer and year unknown.

The concept “sofa table” did notexist in Klint’s terminology. He designed various smoker’s tablesto hold the necessary pipe tobacco, cigars, cigarettes, ash-trays, and matches as well ascups or glasses. Another cate-gory was radio tables, which hada square top, while the smoker’stables could also be circular. Allwere made as variations on a theme, with a separate top, squareframe, shelves, etc.

Rud. Rasmussens Snedkerier, Copenhagen. Model nos. 4486, 6618, etc.Mahogany. Made from 1930 and still in production. Photos: rr/Bror Bernild, n.d.

Folding table.The solid top is made up of two pieces of wood andhas fiddles that are screwed on to compensate for the wood’s ex -pansion and contraction with changing humidity. The base consists oftwo frames with common pivot points, making it possible for them tostand at right angles when the table is in use and be turned to a parallel position so that the top drops down when the table is setaside. Chapter 11.Rud. Rasmussens Snedkerier, Copenhagen. Model no. 4398.Cuban mahogany. 1931. A few tables made.H: 26 1/3, W: 27, L: 36 GB in.Exhibitions: Copenhagen Cabinetmakers’ Guild Furniture Exhibition,1931.Private collection.Photos: dmad/Erik Hansen, 1956.

The ship’s table was designedas a side table for the deckchair.The fiddles do not extend all theway to the corners.The top ishinged in the middle and at thecrossed legs so that it can befolded up. Chapter 11.Rud. Rasmussens Snedkerier,Copenhagen. Model no. 4701.Teak. 1933. Still in production.H: 21, W: 28, D: 21 GB in.Exhibitions: Copenhagen Cabinetmakers’ Guild Furniture Exhibition,1931.Photo: rr/Bror Bernild, n.d.

Inger Klint. 1920.Watercolor on paper. 21.0 ! 27.4. Provenance: Inger Klint, Naur Klint. Private collection.No. 98. Photo: dnal, Col./Jørgen Watz, 2002.

kaare klint · 292

Relief with an Archer. [The Archery Contest. The Story of Prince Sudhana.The Avadanas and Jatakas]. 1915.Oil on cardboard. 68.5 ! 53.0. Provenance: Morten Klint. Private collection.No. 81, Chapter 4.

VISUAL ART / Motifs – From Kighavn

Kaare and Inger Klint vacationed in Kighavn in 1920.They had beenmar ried on June 8th and their son Naur was born eight days later.There must have been plenty to see to with five-year-old Esben andone-year-old Morten from Kaare’s marriage to Le. Kaare had his watercolors with him and sketched the calm moment with mothernursing her child.

Inger Klint Nursing Naur.1920.Watercolor on paper. 31.2 ! 23.3. Provenance: Inger Klint, Naur Klint. Private collection.No. 39. Photo: dnal, Col./Jørgen Watz,2002.

Inger Klint Nursing Naur.1920.Watercolor on paper. 31.0 ! 23.3. Provenance: Inger Klint, Naur Klint. Private collection.No. 40. top right: Photo: dnal, Col./Jørgen Watz, 2002.

Inger Klint Nursing Naur.1920.Watercolor on paper. 27.3 ! 19.6. Provenance: Inger Klint, NaurKlint. Private collection.No. 95. Photo: dnal, Col./Jørgen Watz,2002.

A Bouquet of Honeysuckleand Harebell. 1920.Watercolor on paper. 23.6 ! 37.5. Provenance: Esben Klint. Private collection. No. 59. Photo: dnal, Col./Jørgen Watz, 1987.

Apple Tree. 1920.Watercolor on paper. 23.2 ! 31.0. Provenance: Inger Klint, Naur Klint. Private collection.No. 34. Photo: dnal, Col./Jørgen Watz,2002.

VISUAL ART / Motifs – From Paris

In conjunction with his work of converting the Royal Frederik’s Hos -pital into the Danish Museum of Art & Design, Klint traveled aroundEurope in 1922 on his own initiative. He visited the leading museumswith decorative-art collections and libraries, and wrote an article onconditions in museums (Architektens Maanedshæfte, January 1927). IngerKlint accompanied him on his travels, and in July, they were in Paris.

93list of works

Inger Klint. 1922.Watercolor on paper. 37.0 ! 27.5. Provenance: Inger Klint, Naur Klint. Private collection.No. 90. bottom left: Photo: dnal, Col./Jørgen Watz, 2002.

Inger Klint, Seated andReading a Newspaper. 1922.Watercolor on paper. 45.2 ! 36.5. Provenance: Morten Klint. Private collection.No. 5. Photo: dnal, Col./Jørgen Watz,1988.

Inger Klint in a Bathrobe. 1922.Watercolor on paper. 45.3 ! 35.9. Provenance: Esben Klint. Private collection.No. 45. Photo: dnal, Col./Jørgen Watz, 1987.