A Comprehensive Record of Materials, Structure, and Innovation
This catalogue raisonné is distinctive in its treatment of Poul Kjærholm’s work not as autonomous art objects but as furniture produced primarily in collaboration with E. Kold Christensen. The book traces Kjærholm’s career across his lifetime, with particular attention to the materials he employed. The content is organized into three major sections that reflect the evolution of his practice: the early experimental phase, the body of steel-based works, and the later pieces constructed in wood.
Kjærholm was deeply invested in exploring the structural potential of materials. Early in his career, he moved beyond traditional wood construction and experimented with industrial materials such as concrete, cast aluminum, and welded steel wire. He was especially fascinated by the inherent strength of steel and the way its matte surface reflected light. His intention was always to respect the intrinsic character of each material and utilize its properties to their fullest. Purity of form, structural clarity, and tactile honesty define much of his output. For instance, the PK22 lounge chair expresses the structural flexibility of spring steel by presenting the frame’s elements as independent components. In the PK91 folding stool, he reinterpreted an ancient Egyptian typology through modern steel construction, transforming a historic furniture type into a contemporary expression.
Kjærholm’s partnership with E. Kold Christensen, from 1956 to 1981, was central to the production and distribution of his furniture. Photographer Keld Helmer-Petersen also became a frequent collaborator, and many of his iconic images appear throughout the book. In Kjærholm’s later wooden works, cabinetmaker Einar Pedersen played an essential role, providing craft expertise that supported the designer’s structural ambitions.
The catalogue includes detailed entries for major works such as PK9, PK20, PK22, PK24, PK61, PK33, PK80, PK91, and PK101. Each entry describes development history, materials, dimensions, and production timelines. Kjærholm’s furniture has been installed in a wide range of architectural settings, including the Taastrup Town Hall and the Louisiana Museum of Modern Art. He also designed exhibition furniture and display systems, demonstrating how his understanding of structure extended beyond individual pieces to complete spatial solutions.
Of particular note is the PK24 lounge chair, which incorporates what Kjærholm termed the “principle of neutral equilibrium,” allowing the seat’s position to adjust according to a user’s weight and friction. This mechanism exemplifies his innovative use of gravity and structural balance. The PK61 low table, designed as a companion to the PK22 lounge chair, juxtaposes the matte tactility of steel with the non-reflective surfaces of stone or glass, forming an elemental manifesto of material honesty.
The catalogue also includes abstract imagery believed to relate to Kjærholm’s inspirations—visual studies that suggest his sensitivity to natural forms, structural rhythms, and material textures. Together, these materials document the conceptual and material foundations of his design process.
This catalogue raisonné stands as a rigorous and authoritative record of Poul Kjærholm’s innovative approach to furniture design. It foregrounds his deep understanding of materials, his pursuit of structural precision, and the enduring significance of his work within the history of modern design.
About
Author
Michael Sheridan
Publisher
Gregory R. Miller & Co.
Size
22.86 × 3.05 × 22.61 cm (224 pages)
Content
• Foreword by architect Hanne Kjærholm
• Biographical essay by Michael Sheridan, examining Kjærholm’s design philosophy and the development of his career
• Seventy detailed work entries, covering every documented production piece with dimensions, materials, drawings, and vintage photographs
• Supplementary documentation, including production chronologies, manufacturer notes, material and maintenance annotations, and explanations of production stamps
Furniture
• “Element” Chair (PK25), 1951
• Steel Tube Chairs, 1952 (prototype)
• Steel Table, 1952 (prototype)
• Laminated Wood Table, 1952 (prototype)
• Lounge Chair (PK0), 1952
• Cantilevered Lounge Chair, 1953 (prototype)
• Table and Benches for an Apartment, 1953 (prototype)
• Display Table for Tutein & Koch, 1953 (prototype)
• Display Table for “Experiment and Documentation,” 1954
• PK1, PK2, PK3, 1956 (dining chairs)
• PK21, PK22, 1956 (lounge chairs)
• PK61, 1956 (low table)
• PK101, 1956 (candelabrum)
• PK111, 1956 (screen)
• “Fillifat,” 1957 (exhibition structure/object)
• PK11, 1957 (desk chair)
• PK80, 1957 (daybed)
• PK31, 1958 (sofa system, including PK31/2, PK32/2, PK31/3 variants)
• PK33, 1959 (stool)
• Display Fixtures for the Danish Section, XII Triennale di Milano, 1960
• PK91, 1961 (folding stool)
• Ashtray for Fredericia Town Hall, 1963 (commission)
• PK50, 1964 (dining table)
• PK24, 1965 (lounge chair)
• PK62, PK63, PK63A, PK64, 1968 (tables)
• Furnishings for the Council Chamber, Kalundborg Town Hall, 1970
• PK27, 1971 (lounge chair)
• PK66, 1971 (table)
• PK13, 1974 (cantilever armchair)
• PK56, 1974 (low table)
• PK26, 1976 (hanging sofa)
• “Louisiana” Bench, 1976 (prototype)
• Horserød Armchair (prototype PK28), 1976
• Horserød Dining Table, 1976 (prototype)
• Furnishings for Restaurant Kanalen, 1978
• PK9
• PK12
• PK41
• PK70
• PK90
Review
The Furniture of Poul Kjærholm: Catalogue Raisonné presents the definitive survey of a designer whose structural intelligence and material sensitivity shaped one of the most rigorous bodies of work in modern furniture history.
The catalogue documents how Kjærholm incorporated a broad range of materials—steel, stone, glass, cane, leather, canvas, and wood—building upon his background as a trained cabinetmaker while pushing far beyond conventional craft traditions. His designs reveal a structural logic in which each material expresses its inherent characteristics. The spring steel frame of the PK22, the elemental steel-and-stone composition of the PK61 table, the refined equilibrium of the PK24 lounge chair, and the elegant folding mechanism of the PK91 stool all demonstrate his pursuit of clarity, precision, and tactile honesty.
Many of the works were produced by E. Kold Christensen, whose collaboration was crucial to the fidelity of Kjærholm’s constructions. Later, Kjærholm’s partnership with Einar Pedersen contributed to the refinement of his wooden pieces, revealing his ongoing interest in the expressive capacity of natural materials.
Richly illustrated with photographs, sketches, drawings, and abstract visual studies, the book provides unprecedented insight into Kjærholm’s conceptual framework and the structural principles that guided his work. The imagery illuminates not only the final objects but also the designer’s way of seeing—his sensitivity to material textures, natural forms, and industrial geometries.
This catalogue raisonné is essential reading for anyone seeking a deep understanding of Poul Kjærholm’s furniture and his lasting impact on modern design. It offers scholars, designers, and collectors an authoritative reference that situates his work within the broader narrative of twentieth-century material and structural innovation.