search.noResults

search.searching

note.createNoteMessage

search.noResults

search.searching

orderForm.title

orderForm.productCode
orderForm.description
orderForm.quantity
orderForm.itemPrice
orderForm.price
orderForm.totalPrice
orderForm.deliveryDetails.billingAddress
orderForm.deliveryDetails.deliveryAddress
orderForm.noItems
LIVE 24-SEVEN


A BUY E R’ S GUIDE TO NANNA DITZEL – 1923 TO 2005


Nanna Ditzel – 1923 to 2005: Furniture, textile and Jewellery designer - “I do not wish to be compared with colleagues of my own generation. It’s the new designers and artists that interest and inspire me.”


Nanna Ditzel reigns as the uncrowned queen of Danish design, a unique talent who became one of the most significant designers of her generation. Working in what is now regarded as the golden age of Danish design, she attained celebrity status alongside leading contemporaries such as Arne Jacobsen, Hans Wegner and Verner Panton. Her defining skill was a simple approach to design be it in textiles, furniture or jewellery and the results of this effortless ability remain as some of the most instantly recognised and loved pieces of the 20th century.


Will Farmer is our antiques & collectors expert, he is well known for his resident work on the Antiques Roadshow, he has also written for the popular ‘Miller’s Antique Guide’. Those in the know will have also come across him at ‘Fieldings Auctioneers’. We are delighted that Will writes for Live 24-Seven, he brings with him a wealth of knowledge and expertise.


Nanna Ditzel was one of those strong and defined designers from the old school that had an abundance of innovative style, intuitive flair and a hunger for change; furthermore she was a talented woman in the midst of many talented men. Nanna was born in Copenhagen, Denmark in 1923 to a family of artists and designers and as one of three she and her sisters spent their childhood drawing and designing. While her sisters were to become involved in ceramics and textile design, for Nanna it was furniture and at her earliest opportunity she enrolled on a joinery course to learn and develop her passion for design.


She took a hands-on approach, training as a cabinet maker under the highly influential furniture designer Kaare Klint at the Academy of Arts in Copenhagen where she met her future husband and design partner Jørgen Ditzel. She graduated in 1946 and soon afterwards established a design studio together with Jørgen; there she honed her craft in furniture, ceramics, jewellery and textiles.


From the start of her career in the post war years (a period with few women in furniture design) she was challenged by new materials such as foam rubber, fibreglass and wicker combined with revolutionary techniques in manufacture. These new materials allowed a freedom of design and creation not previously experienced and Nanna grasped the opportunity with both hands. The combined skills of her husband resulted in a perfect team who quickly rose to worldwide acclaim with a string of significant medals and awards culminating in the Lunning Prize, awarded to them in 1959, giving the couple the seal of approval and bringing them international renown.


During this time she also began creating a range of simple and elegant jewellery designs which quickly caught the attention of the Goldsmiths Association and this was followed by a working partnership with leading Danish jewellery firm Georg Jensen. Over the following years she created many


/ 144


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156