An exceptional 1960s Danish vintage Hans Wegner Papa Bear chair with matching ottoman for AP Stolen with teak 'paws' and legs that has been beautifully reupholstered in two tone caramel and bitter chocolate leather. 
 
Designed in 1951, this is Wegner at his most relaxed and confident. By this point, he had already established himself through a series of refined, architectural pieces in solid wood such as The Round (Kennedy Chair) and The Wishbone Chair - but here he turns his attention to something softer and more enveloping. The result is a piece that feels both grounded in tradition and entirely its own.
 
At first glance, it has the familiar outline of a classic English wingback from yesteryear with the high back and extended sides originally designed to shield against drafts and create a sense of enclosure. Wegner keeps that protective silhouette but transforms it with softer lines and more generous proportions which allows the chair to feel like it's opening out rather than closing in.
 
There is also a clear dialogue with the more sculptural side of Danish design, particularly pieces like the Pelican Chair by Finn Juhl from the 1940s. Both share a certain organic playfulness so that their form feels almost alive. In the Papa Bear, that comes through most clearly in the arms, which sweep forward and taper into what are referred to as 'paws'. It's an affectionate name and one that originates in 1951.
 
When Wegner was finishing the prototype a journalist noted that the armrests felt like the massive paws of a bear reaching around to hold you. The name Bamsestol was born and soon replaced the chair's rather austere technical AP19 name.
 
Whilst they may not have been creative in initially naming the chair, the partnership with AP Stolen (Anker Petersen) was vital for its success as they not only had the craftsmen capable of building the complex internal timber frame but were willing to take risks too. Wegner, with his background as a master cabinetmaker, needed that expertise to bridge the gap between whimsical sculpture and the honest, sturdy construction of a traditional day to day workshop piece. It's therefore his expertise in combining key features like the solid oak frame and the exposed teak elements where Wegner’s cabinetmaker’s hand is most evident.
 
These details are not decorative afterthoughts, they are integral to the design, anchoring the generous upholstery with a clear sense of structure; and they are practical too. Wegner knew that the ends of upholstered arms are always the first to show wear from the oils on a person’s hands. By finishing them in carved teak, he solved a maintenance headache while giving the chair its most iconic feature. This is also carried through to the stool where Wegner built 'handles' on either side so that it could be moved without touching the upholstery.
 
APS production ran from 1951-1969 and it's believed that for the following 30 years the Papa Bear was in hibernation and officially 'off book'. PP Mobler were a natural choice to revive the Bear in 2003 as part of a 50th Anniversary as they had, in any event, been producing the frames, the paws and the legs for APS since 1953.
 
This particular set is, therefore, a rare find and not just because of the age and pedigree of being an APS original, but also because of the sophisticated two tone tufted leather finish that perfectly traces the chair's sculptural lines. The front and seat are upholstered in a warm, caramel colored tan, while the back and sides transition into a deep, bitter chocolate. This highlights the embrace of the arms in a way a single color simply cannot and is further accentuated by the cream piping.
 
Although many first editions were upholstered in wool the two tone leather look is very Wegner; he often recommended contrasting materials to emphasize the distinction between the 'cradle' (where you sit) and the 'shell' (the structure) as it makes the chair look more like a piece of sculpture and less like a standard armchair.
 
The choice of solid teak for the paws and the tapered legs is another significant detail. While many versions used oak or walnut, teak brought a specific warmth and is highly sought after by collectors for both its rarity and mid century modern authenticity.
The set was sympathetically restored by the previous owners to maintain some of the teak's history rather than to strip it away so you'll still see some scars and marks in the wood as shown in the photos. Likewise, as it was reupholstered 3 years ago, there are a few small, light dents in the leather and signs of light use.
 
These details add to the chair's character, and has been further enhanced with the woodwork being waxed to provide a tactile silkiness and gentle sheen rather than gloss varnished. Likewise, whilst the seat webbing has been replaced and the cushion uses modern foam, the main structure of the chair and ottoman still uses the original horsehair which gives a slight texture with some random undulations along the edges here and there just as you would expect with a vintage piece.
 
Incidentally, while the back legs look like they might be a weak point given their angle and extension beyond the base you need not worry! The legs are actually over 3 feet long and run through the frame of the chair and are fixed to the underneath of the arm rests. This is another of Wegner's attention to manufacturing details as that cantilever effect not only strengthens the legs but gives additional support to the arm rest too.
 
Looking at the underside of the seat, you can just make out the edges of the original APS stamp that is so often worn away with age; this confirms this is a vintage production from the AP Stolen workshop in Copenhagen (which is further evidenced by the more complete stamp under the ottoman). You can also see the Danish Furniture Maker's Control badge in the photos, which was only given to workshops that met the strictest quality standards of the era.
 
Eventually, production was taken over by PP Møbler, a workshop that shared a deep personal bond with Wegner and handled his most difficult wooden designs, but these early AP Stolen pieces are the ones that hold the most historical weight for serious collectors. The APS stamp and the design of that particular black and silver control badge (which changed over the years) dates this set to the early 1960s.
 
Wegner always believed a chair should have no 'backside' and should be beautiful from every possible angle, so while it works in a corner, or up against a wall it's at its best in the center of a room. That way you can see every detail, just as Wegner intended. Paired with its matching footstool, it offers a complete seating experience, one that encourages you to settle in and stay a while.
 
 
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