Large early Mid Century sideboard credenza by Fritz Henningsen Danish

A very rare and exceptional large Mid Century sideboard credenza by master Danish cabinet maker Fritz Henningsen in highly figured Mahogany This sideboard features outstanding Mahogany veneer that has been expertly matched across the front doors and top using the same cuts of wood and matching them to create sweeping, curved details. This attention to detail and the use of Mahogany was one of Henningsen’s trademarks, and this along with how the main cabinet sits on its base, denotes much of his work – in particular many of his sofas have the same design of a box, often with curved and rounded corner details, sitting upon a simple set of framed legs. Henningsen was most active from 1915, when he opened his own furniture shop in Copenhagen, to the 1950’s and as such his most recognisable cabinet work encompasses designs in Art Deco and also classic Mid Century Modern. Looking at the detailing of the legs it’s most likely the sideboard dates from the 1940’s where the curvature of some elements of the design aesthetic became simpler and increasingly more linear as the Mid Century Modern movement gathered pace in leading Scandinavian countries at that time. It’s in very good vintage condition and also benefits from having the original key that locks all the cabinet doors. There are some marks to the top as shown but these can really only be seen when looking along the top against the light. It’s been beautifully restored at some time in its life and whoever restored it believed the small marks and signs of age where better left untouched rather than glossed over – it is, after all, over 80 years old. In any event the marks don’t detract at all from the visual appearance of the piece as is evident when one looks at the main pictures. In any event it is supplied with a toughened glass top that has the effect of creating a seamless surface and also protects the top from wear and damage. What further adds rarity to the piece, (I doubt you’ll ever see another one) is that Henningsen was known to hardly ever sign his work, and yet this piece does have a very rudimentary set of marks that seem to bear his name – what appears to be ‘1A’ and ‘FH’ (as shown in one of the photos). It’s well documented that he disliked the cult of the designer as the focus of design and always preferred that the design spoke for itself. This basic signature is therefore very unusual and probably suggests it was a bespoke piece made to order for a wealthy client.