“Papa Bear” armchair and ottoman by Hans J. Wegner for A.P. Stolen, Denmark

€29,352
“Papa Bear” armchair and ottoman by Hans J. Wegner for A.P. Stolen, Denmark
“Papa Bear” armchair and ottoman by Hans J. Wegner for A.P. Stolen, Denmark
€29,352
Dimensions :
H98 x W78 x D80
Color :
ecru
Material :
wood
Style :
scandinavian

“Papa Bear” set comprising the armchair and matching ottoman, with exposed oak elements and recently renewed upholstery in a cotton-blend mélange fabric. Designed by Hans J. Wegner for A.P. Stolen, Denmark, 1950s. Original manufacturer’s marks. Designed by Hans J. Wegner in 1951, the “Papa Bear” armchair (model AP-19) represents one of the most significant turning points in the golden age of Danish modernism, an organic design conceived by a creator who trained as a master cabinetmaker before becoming a designer, instilling in every work a profound respect for the nature and integrity of materials. The celebrated nickname “Papa Bear” originated with a contemporary critic, who described the armrests as large paws capable of wrapping anyone seated in the chair in a protective embrace. This evocative image is immediately reflected in the architecture of the chair: the high back extends into two lateral wings, creating a sense of intimacy and acoustic seclusion, while the armrests terminate in distinctive shaped oak inserts that recall the animal’s paws. In this iconic design, officially presented at the Tidens Møbler exhibition in Copenhagen in 1952, the imposing structure and pursuit of absolute comfort coexist within the same design gesture. Wegner deliberately chose not to conceal the wood beneath the upholstery, allowing it instead to re-emerge at the points of greatest visual and functional emphasis. The legs and armrest terminals thus become integral elements of the design, expressing the balance between the freedom of organic forms and the rigour of traditional craftsmanship. Every detail of the upholstery, from the buttons and taut stitching to the geometric piping, contributes to shaping the volumes and defining a strong three-dimensional presence that continues into the matching ottoman. More compact in scale but equally considered, the ottoman echoes the language of the armchair through the curvature of its upholstered surface and the relationship between

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