Early 1950s Danish Mid Century Modern Hans J. Wegner Model 1935 Teak and Beech Shell Settee for Fritz Hansen. 

Originally designed in 1948 for the Museum of Modern Art (MoMA) International Furniture Competition in New York, the Model 1935 Shell Settee represents one of Wegner's rarest designs. Most archives suggest it was made for a short period of just 2-3 years meaning that this piece is one of only a few hundred that were ever produced. 

There’s a particular interest in the early work of Hans J. Wegner, especially in pieces that sit slightly outside his better known output. The Model 1935 Shell Settee belongs firmly in that group. It reflects a moment when Wegner was still testing ideas and exploring how new materials and production methods could be used without losing the discipline of traditional cabinetmaking. Incidentally, the number '1935' is not related to a date or any other reference as it is simply the production number related to the design with '1936' being the single seat side chair version.

Produced by Fritz Hansen in the mid 20th century, the settee comes out of a period shaped by material shortages and industrial change. Laminated and moulded plywood offered a practical solution, allowing thin layers of wood to be formed into stable, curved shapes using less timber than solid construction required. This technique was also embraced by other notable Scandinavian designers such as Arne Jacobsen, Finn Juhl and Alvar Aalto.  

The AX mark found on this example (as shown in the photos) was the production code for the new technique and relates directly to that development, although it is more commonly associated with a famous series of furniture designed by Peter Hvidt & Orla Mølgaard-Nielsen for Fritz Hansen around the same time (1947–1950). The process itself grew out of wartime manufacturing, particularly techniques used in aircraft components and, as is often noted, in the construction of wooden tennis rackets where both strength and flexibility were essential.

Wegner’s use of this technology was characteristically, well measured rather than fully embracing the sculptural possibilities of moulded plywood.  He, therefore, combined it with solid wood elements keeping the overall form more controlled and familiar. The shell is gently curved, not exaggerated, and supported by a structure that still reflects his grounding in traditional joinery.

The choice of materials is equally considered. Beech, widely available in Denmark, provides strength and stability, while the beautifully figured imported teak is used for its richer tone and finish. The combination gives the piece both practicality and visual depth, and has since become particularly sought after as it speaks directly to the conditions and the burgeoning Mid Century Modern design ethos of the time.

Fritz Hansen’s role in this period was key. The company had the technical ability to develop these lamination processes and was willing to invest in them, but production remained relatively limited. The methods were still evolving, and the market was not yet fully aligned with this type of hybrid design. As a result, pieces like the Model 1935 were produced only briefly before Wegner returned to more conventional solid wood furniture. He would not revisit moulded plywood in any meaningful way until much later with the CH07 Shell Chair, by which point both the technology and the audience had caught up.

Seen in this context, the 1935 settee reads as an early and important step in that direction as Fritz Hansen just 5 years later used the same technique to produce the World's most prolific chair, the Arne Jaconsen Series 7.  

This particular example remains in excellent vintage condition with light signs of wear commensurate with age and use. There are some small nibbles on the edge of the plywood here and there and a small piece of repaired veneer on the back right corner - however, this repair is not obvious (unless highlighted as I've done in the photos) as it is on the back and adjacent to the rear back support so not particularly visible in normal use.

The settee also benefits from the remnants of the original paper catalogue label, along with the FH and AX stamps, (as detailed in the photos) and this shows it to be consistent with the Fritz Hansen production from this period. 

All in all it's an exceptional design that manages to be based on simple flowing lines that creates an understatedly elegant but also carefully considered piece: the proportions are balanced, the materials are used with purpose, and the construction reflects an important moment of transition in both Fritz Hansen's and Wegner’s work.

Taken in the context of its limited manufacturing run, and combined with the presence of the original markings, these details make it a very rare and relevant example from a pivotal moment in Danish furniture production - and from one of the true masters of Mid Century Modern design.
 
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