Canada Post is temporarily unavailable. Canadian shipments will be posted using UPS until strike is resolved. We apologize for the inconvenience.
Login
Log in if you have an account
Register
By creating an account with our store, you will be able to move through the checkout process faster, store multiple addresses, view and track your orders in your account, and more.
Create an account
Glove Cabinet
Finn Juhl’s Glove Cabinet was originally part of a bedroom suite he designed for his wife, music publisher Hanne Wilhelm Hansen in 1961.
Design Finn Juhl
Manufacturer House of Finn Juhl
Made in Denmark
Dimensions W 69.2cm x D 34.8cm x H 51.7cm
Colour & Materiality Japanese cherry, wengé, burnished steel, brass
The delicate cabinet opens up like a jewellery box and reveals its ten trays in different colours, based on Goethe’s theory on colour and his colour wheel. Hanne Wilhelm Hansen loved gloves, but found it difficult to keep track of all the pairs, and the colour-coded trays were designed to help her keep order among the untidy gloves.
The glove cabinet was presented by Ludwig Pontoppidan at The Cabinetmaker’s Guild Exhibition in 1961 – Finn Juhl’s 25th and last guild exhibition.
The 2015 version of the Glove Cabinet is produced like the original in every detail, making it a genuinely exclusive product. The cabinet is only manufactured on request in oil treated handmade solid Japanese cherry with handle in solid wengé and main hinge and legs in burnished steel with handmade lock and castors in solid brass.
“With his artistic approach to design Finn Juhl is one of the few who masters both functionality and delicate detail. Few other pieces of furniture have managed to catch the imagination of generations like Finn Juhl’s glove cabinet,” says Director Hans Henrik Sørensen of Onecollection.
As one of the leading figures in twentieth century furniture design, Finn Juhl is responsible for introducing North America to the Danish Modern movement through his work on the United Nations Headquarters in New York City. Originally trained as an architect, he began creating furniture for himself in the 1930's and soon gained widespread recognition for his organic forms and expressive treatment of wood, often taking the material past the limits of what was thought possible. Thinking with the mindset of a sculptor, his ambition was to design furniture with movement and life.