Elizabeth Lounge Chair
Elizabeth Lounge Chair
Designer Ib Kofod-Larsen
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Elizabeth Lounge Chair
Elizabeth Lounge Chair
Designer Ib Kofod-Larsen
SKU 71161-004586
Complete with:
Elizabeth Lounge Chair
Elizabeth Lounge Chair
Well-proportioned and well designed, the Elizabeth Lounge Chair profiles a majestic elegance that underpins its royal name. Originally called the Model U56, it was later dubbed Elizabeth Chair after Queen Elizabeth II and Prince Philip purchased two of them during an official visit to Denmark in 1958. The chair's sculpted armrests combined with the leather-upholstered low seat and sleigh-like back make it a prime example of Danish Modern.
Height
30.31 in
Width
30.71 in
Depth
28.35 in
Seat height
14.57 in
Specifications
Materials
foam, felt, quilt foam, pocket springs, rubber
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This chrome- and vacuum-tanned, full-grain aniline leather has a waxed surface for an exceptionally soft touch and a glossy finish that highlights its natural texture. Becoming more comfortable over time, it provides a supportive and cosy seating experience and develops a distinctive patina that adds character and uniqueness to each piece of furniture.
1 2 3 4 5
Cal 117
3
Brown, Grey
100 % Aniline Leather
0.9 - 1.1 mm
Nevotex
Colors:
Materials:
An exclusive aniline leather characterized by its natural, unrefined appearance, Dunes® achieves its luxurious velvety touch through sanding and a special leather oil application. Its matte finish exudes raw elegance, accentuated by unique natural markings that lend individuality to each hide. Patinating through usage and exposure to light, Dunes becomes shinier and smoother over time.
1 2 3 4 5
Cal 117, C&M (BS5852-0/1)
3
Brown
100% Aniline Leather
1.1-1.3 MM
Sørensen Leather
Colors:
Materials:
Originally designed by Nanna Ditzel in 1965, Hallingdal 65 is an exceptionally durable upholstery fabric that features a harmonious blend of wool and viscose, both dyed before spinning to accentuate their texture. The wool contributes superior durability and flexibility, while the viscose enhances the colour with brilliance and depth.
1 2 3 4 5
C&M (BS5852-0/1), Cal 117, Crib 5 (BS5852-5)
100.000
3-4
7
Beige
70% New Wool, 30% Viscose
Kvadrat
Colors:
Materials:
Logan is a modern interpretation of the classic wool bouclé. Woven from a luxurious cotton-wool blend, it offers a beautifully structured texture with an irresistibly soft feel. Its refined, understated palette enhances its timeless appeal, making it the perfect complement to any space.
1 2 3 4 5
Cal 117, C&M (BS5852-0/1)
45.000
5
4-5
Beige, Off-white
66% Recycled Cotton, 15% Wool, 15% Acrylic, 4% Polyester
Yarn Collective
Colors:
Materials:
Walnut
Please note: as each sample is crafted from natural wood, variations in colour and grain are to be expected. An oil finish enhances the characteristics of solid walnut, bringing out the depth and warmth of the wood while helping to repel moisture and dust to contribute to the longevity of the furniture. A reapplication of oil can often remove minor imperfections to rejuvenate the appearance.
Brown
Walnut, Solid
Colors:
Materials:
Please note: as each sample is crafted from natural wood, variations in colour and grain are to be expected. An oil finish enhances the characteristics of solid oak, bringing out the depth and warmth of the wood while helping to repel moisture and dust to contribute to the longevity of the furniture. A reapplication of oil can often remove minor imperfections to rejuvenate the appearance.
Beige, Brown
Oak, Solid
Colors:
Materials:
MEET THE DESIGNER
Ib Kofod-Larsen
Architect Ib Kofod-Larsen (1921-2003) had a successful career in the 1950s and 1960s when Danish design was flourishing across the world. A large part of his vast furniture catalogue was designed for the non-Danish market and manufactured abroad. He worked especially for American, Swedish, British and German furniture companies and manufacturers, and this may be the reason that his furniture has undeservedly become better known internationally than in his home country of Denmark. Ib Kofod-Larsen formed part of a movement known as Danish Modern, but he went slightly under the radar and worked in the shadow of Kaare Klint, Hans J. Wegner, Børge Mogensen, Arne Jacobsen, Finn Juhl and Nanna Ditzel. Today he is called one of the most underrated – but most exciting – names on the Danish design scene. And one of the greatest design brains Denmark ever had. “His furniture is sophisticated and well-proportioned with beautiful silhouettes and sculptural, organic lines and curves.” Although he himself felt like an artisan – and he had no academic approach to furniture design – there is something poetic and artistic about his designs. The soft lines. The visual lightness. The graphic purity. The free, artistic expression. He was a purist. A man of detail. At first glance, his furniture may seem simple, but at closer inspection it is full of detail. It is inventive and borders on engineering. He drew, sculpted, made prototypes, was involved in production and participated in the entire process down to every test and launch. He was a creative designer, maybe one of the greatest designers in the golden age of Danish design. He took an innovative approach. Not just to furniture, but to ways of thinking about furniture. First and foremost, he had an exceptional understanding of materials and an eye for the potential of the wood and the quality of the raw materials he used. He often worked in different types of wood – mainly teak and palisander in combination with real leather. To Kofod-Larsen, the most important thing was that the furniture should feel good. To the touch and when sitting in it. With all his chairs, The Penguin, The Seal and the Elizabeth Lounge Chair, his focus was on the person who was going to be sitting in them.
