PK 22 Easy Chair by Poul Kjaerholm Mid-Century Modern (MCM) replica - $275 (Kensington)

condition: excellent
make / manufacturer: Poul Kjaerholm
model name / number: PK22 Easy Chair
size / dimensions: 25"x25.5"x27.5"
PK 22

PK 22 Easy Chair by Poul Kjaerholm replica modern reproduction

Brown/tan/caramel faux leather (AKA leatherette, imitation leather, vegan leather)

Mid-century modern Scandinavian Danish design

The PK22 Easy Chair is a classic modern reproduction toriginally designed between 1955-56 by Danish designer Poul Kjaerholm. The simplistic stainless steel and leather combination won design awards immediately after its introduction. The low, angled seat and lack of hard frame edges made the PK22 Easy Chair especially comfortable. A logical addition to the discerning modernist collection, the PK22 occupies a permanent space in the Museum of Modern Art in New York City.

25"W x 25.5"D x 27.5"H
Seat Height 13.75"

Asking $275

Authentic versions of this designer chair sell for upwards of $5,499: https://www.fritzhansen.com/en/Categories/Products/Popular-series/
the cheapest reproductions are upwards of $979 new at https://eternitymodern.com/pk22-easy-chair

Further reading on this incredible mid-century modern (MCM) design:

“Poul Kjærholm took his mark in the construction as a geometric skeleton. He was obsessed with the idea of objects' legibility. The screw, the industrial screw, that is to say, was regarded as an independent ornament. The Unbrako key was unbreakable and was a helpful accessory in bringing about precise joinings.

Accordingly, the steel could be manipulated with great exactitude, in much the manner of fine cabinet-making, and could simultaneously draw the viewer's attention to the joining or the transition between the furniture's parts - the bearing and the borne. The joining comes to be a contrapuntal detail and manifests itself as the entire article's cohesive force. The joint is held together by a high degree of pressure and with a minimum of contact surfaces. All the parts converge in a clear-cut manner, on the premises of the material; nothing is interwoven with or cut or welded into any other piece.

In its combination of materials and in its space-fashioning, classical attitude, Poul Kjærholm's PK22 obviously takes its clear, distinct and familiar point of reference in Mies van der Rohe's Barcelona Chair. Both PK22 and the Barcelona Chair are easy chairs without armrests that take their marks in the folding chair's X-formed side projection.

With PK22, the construction has aimed its focus on its own points of convergence. that is to say, at the spots where the black Unbrako key-screws serve to bolt the leg parts together with the transverse elements and the seat's sidepieces, which have been set on the edge. Poul Kjærholm was very conscious about the constructive aspects in his work with fabricating furniture. In PK22, he demonstrates how the tectonics are articulated in the con-struction, which also reveals quite lucidly the distinction between the bearing and the borne. Kjærholm's desire for precision in the experience of the materials' appearance also imparts character to the articles of furniture he designed.

Kjærholm takes a different approach. He allows the steel's rigidity to control the top rail's design. According to its essential nature, steel cannot be plaited together with other pieces. It can be cut in a sharp and precise way, however, and it can certainly be placed up against another piece in order to subsequently be united with other elements upon being provided with a welding seam. But, unlike wood, steel does not lend itself to being plaited together. Kjærholm sees this and he respects this.

Poul Kjærholm, in this instance, as well as in a great many of his other works, takes recourse in the mode of joining we are calling connection through distance.

Kjærholm takes recourse in matte finished steel, which elicits a more precise perception of the material's demarcation and calls attention to the detail, namely to the joining of the elements. These stringent demands additionally render the articles of furniture ultra-sensitive to even the very smallest of modifications in the mode of production. Unfortunately, such alterations easily come to blur the furniture's expression. For example, what can be spotted in more recent batches of the folding chair is a greater radius of curvature around the leg, which gives rise to the effect that the steel is delineated more flaccidly than was originally intended. This plays a part in weakening the precise manner in which light and shadow are thrown into relief in relation to the steel's twisting.”

By Nicolai de Gier and Stine Liv Buur
The Royal Danish Academy of Fine Arts | School of Architecture Publishers

Poul Kjærholm (1929-1980) was a trained carpenter and continued his studies at the Danish School of Arts and Crafts. He had a particular interest in different construction materials; especially steel which he considered a natural material with the same artistic fineness as other natural materials. Poul Kjærholm was employed at Fritz Hansen for about a year, where he designed a number of noteworthy chair prototypes. In 1955 Poul Kjærholm initiated his collaboration with manufacturer Ejvind Kold Christensen, which lasted until Poul Kjærholm’s death in 1980. In 1982, Fritz Hansen took over the production and sales of "The Kjærholm Collection", developed from 1951 to 1967, designs, which are logical to the minute detail with an aura of exclusivity. In 2007 Fritz Hansen added two new pieces to the Kjærholm Collection. Pieces that were never in production before, the PK8 side chair and PK58 dining table.

post id: 7755056832



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