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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950

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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-2
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-3
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-4
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-1
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-2
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-3
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-4
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-5
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-6
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-7
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Børge Mogensen, Daybed Model 190 For Fredericia Stolefabrik. Denmark, C.1950-photo-8
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A fine example of Danish modernist design, the Model 190 daybed incorporates the core principles of Børge Mogensen: rational construction, respect for natural materials, comfort and functionality. Designed in the late 1950s and produced by Fredericia Stolefabrik, the daybed features a solid oak frame with a restrained, functional build — characteristic of Mogensen’s work, which was strongly influenced by Shaker design. This version includes a sliding drawer — rare for Model 190 — offering practical storage, removable for a more minimalist appearance.

The headrest and mattress have been fully reupholstered in ivory bouclé fabric, whose texture adds relief and contrasts elegantly with the tone of the oak.

Few traces of use consistent with age. Very good overall condition.

Børge Mogensen (1914–1972) was a leading figure of post-war Danish design. Trained in cabinetmaking and architecture, he developed furniture suited to everyday life without compromising on aesthetic quality. His long-standing collaboration with Fredericia, begun in 1955, resulted in some of the most iconic and enduring pieces of Danish modernism.

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