REQUEST PRICE HERE

Price category: 2,500 - 5,000 usd / eur

Mirrors are versatile pieces of interior décor with several functions and advantages; they create depth, increase light coverage, and add a statement to any space. Fusing function and form, mirrors offer useful reflection while also providing an eye-catching focal point in any room. This rare and beautiful Italian mirror has a stylish, defined look that is sure to stand out in any space.

In the early days, mirrors were made from obsidian, a smooth black stone, and metals, such as copper and bronze. The use of glass in mirror-making was initially developed during the rise of the glass industry, and later revolutionised by Murano glass-makers. This Italian model has a stylish, refined look that is certain to add refinement to any room’s ambiance. Wall mirrors, such as this one, are practical at their core, while also adding personality wherever they are placed. The play on materials and geometry, with the mirror’s clean and symmetrical lines, creates a neat, modern look. The patinated brass, the ultimate material of 20th century design is balanced out by the glass surface. Mirrors have long been used to make rooms feel bigger and brighter by reflecting light and creating an illusion of additional space, but there is much more beyond functionality. As this model shows, an accent mirror can incorporate a classic touch into a home, while reflecting timeless Italian style.

The design and materials provide simple elegance, making this mirror perfect to bring some understated modernism to any interior. It can serve equally well in a hallway, bathroom or living room, either mounted on a wall or spontaneously leaned against it. It adds depth, reflects light, and expands horizons as a statement piece.

Condition:

In good vintage condition. Wear consistent with age and use. Marks, scratches, and imperfections may be present on the glass due to manufacturing inconsistencies and the age of the item.

Dimensions:

19.68 in W x 0.98 in D x 29.33 in H

50 cm W x 2.5 cm D x 74.5 cm H

REQUEST PRICE HERE

Price category: 2,500 - 5,000 usd / eur

The second half of the 20th century saw a renewed fascination with organic form and material integrity. Across Europe, the postwar years brought a quiet resistance to industrial uniformity, artists and designers returned to the tactile immediacy of natural materials. Studio craftsmen began to treat wood, clay, and metal as expressive mediums rather than mere functional matter. The result was an era that celebrated the imperfect, the handmade, and the quietly sculptural, where design and art began to intertwine with new intimacy.

Carved from a single piece of richly grained wood, the elongated bowl reveals a deep respect for both material and skill. Its shape, stretching gracefully from end to end, feels fluid and intentional, while the gently arched handle gives the object a structural balance. The surface bears traces of the maker’s hand, with soft ridges and natural irregularities that add a tactile rhythm to its form. Swirling grain patterns further provide a striking visual dimension, highlighting a contrast of tone and texture. The form shifts subtly depending on the viewer’s angle, inviting exploration and offering a sense of balance between lightness and strength. Whether used as a functional centerpiece or simply admired as an object of form and shadow, it draws the eye through its quiet complexity and sculptural quality.

As with much of European studio craftsmanship from this era, this piece speaks to a time that valued authenticity and material truth above decoration or excess. The maker’s hand is evident yet never dominant, allowing the natural form of the wood to guide the design.

Condition:

In good vintage condition. Wear consistent with age and use. Due to the nature and age of the material, item may have some marks, scratches, and discolouration.

Dimensions:

41.92 in W x 15.74 in D x 8.26 in H

106.5 cm W x 40 cm D x 21 cm H

REQUEST PRICE HERE

Price category: 500 - 1,000 usd / eur

‎‎‎

Gunnar Ander was an industrial designer and architect, and one of the brightest stars of 20th-century Swedish metal, wood, and glass design. His most well-known models are the innovative designs for Ystad Metall, such as this unique candle holder. His designs are represented in numerous museums in Sweden.

This black lacquered wrought iron and brass “Sonata” candle holder has an intrinsically modern, sculptural look. The versatile shape and form come alive thanks to the modern materials and the colour choice. Like with lamps, it says a lot about a design when it stands out even without its source of light, in this case, candles. With home improvements on the upswing, candlesticks and holders have found a resurgence, as they are rather impactful additions to any space despite their size. This candle holder can also serve as a centrepiece on a table, as it is sure to draw attention. The smooth black lacquered iron body rest on a hollow circle base and curve upwards. It has four brass cups with so-called chambersticks, small pans to catch dripping wax. The last cups have an elongated lower part ending in a brass sphere. This ingenious feature creates perfect balance as well as a focal point. The design is also customizable in the sense that any type and colour of candles can be placed in the cups to match the interior and personal preferences.

Gunnar Ander was a long-time employee at Ystad-Metall, where he designed utility and art objects in brass, silver, and other materials. The company was founded in 1919 in the south of Sweden. It was active until 1969 and was highly successful thanks to its stylistically pure objects of various metals. Many well-known Swedish designers like Ivar Ålenius-Björk, Carl-Einar Borgström also worked alongside Gunnar Ander during the company’s heyday.

Condition:

In good vintage condition. Wear consistent with age and use. The brass has a beautiful patina with some marks.

Dimensions:

8.66 in Ø  x 9.44 in H

22 cm Ø x 24 cm H

‎

‎

‎

REQUEST PRICE HERE

Price category: 500 - 1,000 usd / eur

‎‎‎‎‎

‎

‎

The artists of Nordic Art Nouveau took inspiration from organic and natural forms, resulting in elegant designs with sinuous curves and lines. As this clever candelabra clearly demonstrates, hey also injected the style with their traditional design ideals such as functionality and an uncluttered look.

This model has a lot more to offer than it would seem at first glance with unique and clever solutions. Firstly, the mysterious material itself, dirigold. Dirigold was invented by two Swedish engineers, C. Molin and C. A. von Malmborg, and the alloy would consist of 90% copper and 10% aluminium. The two engineers were in charge of the Metal company Alco in Örebro in the 1920s. Newspaper articles around Sweden soon praised the material, Gothenburg Dagblad wrote in 1922: “Dirigold maintains its high shine even after long-standing use unlike silver.” It also quickly became popular for as it withstood discolouration. As this candelabra showcases, the light gold colour is especially effective on round, carved shapes with diverse angles. The structure is rather traditional with a round base, long column and three arms with cups and so-called chambersticks, small pans to catch dripping wax. And then the not so obvious element: the top part is removable, converting the design into a vase. This ingenious feature praises John Norelius as a designer and immediately distinguishes this model from all other candelabras. Norelius became a trainee at AB Alcometaller around 1920, and eventually came to lead the dirigold production in the new factory in Mosås.

The composition of the alloy was kept secret, and because of a shortage in materials, the production of dirigold items ceased, making this stately candelabra a museum quality piece.

Condition:

In good vintage condition. Wear consistent with age and use. The dirigold has some marks and patina.

Dimensions:

12.79 in W x 4.72 in D x 14.76 in H

32.5 cm W x 12 cm D x 37.5 cm H

REQUEST PRICE HERE

‎‎‎Price category: 2,500 - 5,000 usd / eur

‎

Characteristic for Swedish artist, Björn Selder, are powerful, expressive sculptures, such as this piece, in heavy materials like bronze, iron, and stone. This unique piece shows that Selder was active as a sculptor and also as a graphic artist. He is represented with numerous monumental sculptures in public environments in Sweden.

Swedish sculptor Björn Selder is renowned for his distinctive style that seamlessly merges modern sensibilities with classical influences. His works are characterized by a harmonious blend of fluidity and precision, breathing life into static forms. Selder's sculptures - like this one - often depict the human figure, capturing the essence of movement, emotion, and introspection. One of the defining aspects of Selder's artistic expression is his preference for bronze as a sculpting material. Bronze offers him a unique combination of durability and malleability. Its enduring nature ensures that his creations stand the test of time, while its pliability allows him to mould intricate details and convey subtle nuances of form and expression. This versatile material accommodates the organic flow of Selder's style, enhancing the tactile and visual experience of his sculptures, enhanced by the green patina that naturally develops with time. Bronze holds a timeless allure due to its inherent strength, ability to retain intricate details, and the captivating patina that develops over time. This anthropomorphic piece takes advantage of its material fully, with the different hues and the surface of the bronze highlighting the versatile organic curves that define the surface.

Selder's present sculpture not only pays homage to the bronze sculpture tradition but also elevates it with a contemporary twist infusing it with his unique blend of abstraction and an unmistakeable contemporary flair. This work invites viewers to engage with the interplay of tradition and innovation, celebrating the enduring appeal of bronze as a medium for artistic expression.

Condition:

In good vintage condition. Wear consistent with age and use. The bronze has a green patina with some marks and scratches.

Dimensions:

7.48 in W x 6.69 in D x 17.32 in H

19 cm W x 17 cm D x 44 cm H

About the designer:

Björn Selder (March 7, 1940, Stockholm - 1999) was a Swedish graphic designer and sculptor. Selder was married to the textile artist Margaretha Selder. He made several study trips to Paris where, among other things, he studied with the American graphic artist W Wellington as well as graphic colour and printing with Theo Mortensen.

He also conducted self-study during trips to the Netherlands, Belgium, Austria, Spain, and North Africa. Furthermore, he worked as director of Grödingesgruppen's graphics workshop in Stockholm 1963–1964. Separately, he debuted with an exhibition at Galerie Catharina in Stockholm in 1961 and together with Ove Dahlstrand he exhibited at Lorensberg's art salon in Gothenburg and together with Bertil Sagnér at Galleri Brinken in Stockholm. He participated in the Grödinge group's exhibitions and various group exhibitions at Liljevalch's art gallery. In addition to graphics, his art consists of polychrome wood reliefs. He made numerous fountains in public settings since 1989. He was a professor at the Central Academy of Fine Arts in Beijing, China, and made relief decorations on the Great Wall of China on behalf of the Chinese state.

Selder is represented at the Modern Museum, Kalmar Art Museum and Gothenburg's school administration. He is chairman emeritus of the Sculptors' Association and professor at the Central Academy of Fine Arts, Beijing. Björn Selder was also the initiator of the Sculptors' House in Vinterviken, Stockholm.

REQUEST PRICE HERE

‎‎‎Price category: 2,500 - 5,000 usd / eur

‎

Characteristic for Swedish artist, Björn Selder, are powerful, expressive sculptures, such as this piece, in heavy materials like bronze, iron, and stone. This unique abstract wall sculpture shows that Selder was active as a sculptor and also as a graphic artist. He is represented with numerous monumental sculptures in public environments in Sweden.

Swedish sculptor Björn Selder is renowned for his distinctive style that seamlessly merges modern sensibilities with classical influences. His works are characterized by a harmonious blend of fluidity and precision, breathing life into static forms. Selder's sculptures - like this one - often depict organic and abstract forms, capturing the essence of movement, emotion, and introspection. One of the defining aspects of Selder's artistic expression is his preference for bronze as a sculpting material. Bronze offers him a unique combination of durability and malleability. Its enduring nature ensures that his creations stand the test of time, while its pliability allows him to mould intricate details and convey subtle nuances of form and expression. This versatile material accommodates the interesting flow and shapes of Selder's style, enhancing the tactile and visual experience of his sculptures, enhanced by the green patina that naturally develops with time. Bronze holds a timeless allure due to its inherent strength, ability to retain intricate details, and the captivating patina that develops over time. This piece takes advantage of its material fully, with the different hues and the surface of the bronze highlighting the versatile lines that define the surface and conjure images of the flora and of the fauna that surrounds us.

Selder's present wall sculpture not only pays homage to the bronze sculpture tradition but also elevates it with a contemporary twist infusing it with his unique blend of abstraction and an unmistakeable contemporary flair. This work invites viewers to engage with the interplay of tradition and innovation, celebrating the enduring appeal of bronze as a medium for artistic expression.

Condition:

In good vintage condition. Wear consistent with age and use. The bronze has a green patina with some marks and scratches.

Dimensions:

2.55 in W x 2.75 in D x 18.3 in H

6.5 cm W x 7 cm D x 46.5 cm H

About the designer:

Björn Selder (March 7, 1940, Stockholm - 1999) was a Swedish graphic designer and sculptor. Selder was married to the textile artist Margaretha Selder. He made several study trips to Paris where, among other things, he studied with the American graphic artist W Wellington as well as graphic colour and printing with Theo Mortensen.

He also conducted self-study during trips to the Netherlands, Belgium, Austria, Spain, and North Africa. Furthermore, he worked as director of Grödingesgruppen's graphics workshop in Stockholm 1963–1964. Separately, he debuted with an exhibition at Galerie Catharina in Stockholm in 1961 and together with Ove Dahlstrand he exhibited at Lorensberg's art salon in Gothenburg and together with Bertil Sagnér at Galleri Brinken in Stockholm. He participated in the Grödinge group's exhibitions and various group exhibitions at Liljevalch's art gallery. In addition to graphics, his art consists of polychrome wood reliefs. He made numerous fountains in public settings since 1989. He was a professor at the Central Academy of Fine Arts in Beijing, China, and made relief decorations on the Great Wall of China on behalf of the Chinese state.

Selder is represented at the Modern Museum, Kalmar Art Museum and Gothenburg's school administration. He is chairman emeritus of the Sculptors' Association and professor at the Central Academy of Fine Arts, Beijing. Björn Selder was also the initiator of the Sculptors' House in Vinterviken, Stockholm.

‎

REQUEST PRICE HERE

Price category: 500 - 1,000 usd / eur

‎‎

Jens H. Quistgaard set out to design beautiful things for everyday use, which is an essentially Scandinavian approach to design in general. Over the course of his prolific and varied design career, Jens Quistgaard created objects that are a meditation on the possibilities of shape for a common household object.

Intriguing and fantastical, the variety of forms the sculptor manifested expand the vocabulary of functional design, calling on an array of familiar references including natural shapes. This solid wood bowl is a beautiful example of this, with an organic shape and an immediately visible level of craftsmanship. This rare model is an early iteration of the Viking ship serving bowl with a stunningly sculpted, staved body. In this technique, after spreading a wood bonding glue onto the sides of the individual staves, the bowl is assembled by sticking the sides together. This results in an interesting look that showcases the many different colours and patterns of the wood. The majority of Jens Quistgaard’s designs were produced in teak, which has the advantage of strength, resilience, and longevity besides its aesthetic appeal. The bowl’s elongated sides and edges are all rounded gently in a true Danish manner, softening the straight lines of the staves. While intended for everyday use, this bowl is just as much a sculpture as a utilitarian object, worthy of a role as a centrepiece or decorative object. It is marked “Saved Teak Danmark JHQ” on its bottom.

For many years Jens Quistgaard was the leading, and often, the only designer for Dansk International Designs which gradually became a world-wide firm with a production influenced in all fields by the homogeneity of his style. His works now appear so obvious it is easy to forget how original and individual they were in their time. He won the Lunning Prize in 1954, and received the Neiman Marcus Award in 1958.

Condition:

In good vintage condition. Wear consistent with age and use. Small scratches on the wood.

Dimensions:

18.3 in W x 12.99 in D x 9.05 in H

46.5 cm W x 33 cm D x 23 cm H

About the designer:

Jens Harald Quistgaard (April 23, 1919 - January 4, 2008) was the principal designer for Dansk Designs from the mid-1950s through the 1980s. Quistgaard’s designs are largely responsible for introducing and defining the Scandinavian modern aesthetic for American homes. As the New York Times recognized in 1958, “Some of the most popular accessories found in American homes today have their beginnings in a small studio-workshop adjoining the modest residence of Jens Quistgaard in Copenhagen.” Quistgaard, by way of Dansk Designs, went on to transform and modernize the American dining table and kitchen.

Initially trained as a sculptor by his father, Quistgaard expanded his skills by learning from carpenters and metalsmiths, all contributing to his versatility as a master craftsman with the expertise to combine materials and techniques in novel ways. Amongst his most recognized designs is the 1953 Fjord Flatware set, iconic for combining stainless steel with teak handles. Fjord Flatware is in the collections of several prominent museums and is still in production. Many more of Quistgaard’s houseware designs, notably the teak ice buckets and colourful Kobenstyle enamelware, have become familiar classics. Over the course of his multi-decade career, Quistgaard created designs for over four thousand products.

Despite living and working in Denmark for the majority of his career, Quistgaard’s designs for Dansk focused on the consumer market in the United States. For many decades, Quistgaard remained relatively unrecognized in his home country, rarely mentioned alongside other Danish design icons such as Hans Wegner and Finn Juhl. As many Scandinavian Modern items moved from the primary consumer market to the province of collectors, Quistgaard’s oeuvre gained further international recognition. In 2015, the Herning Museum of Contemporary Art in Copenhagen mounted a career-spanning retrospective of Quistgaard’s work, with additional Danish publications expected in the near future.

‎‎‎

REQUEST PRICE HERE

‎‎‎Price category: 1,000 - 2,500 usd / eur

‎

Born in Eskilstuna, Sweden, Ulla Viotti is an internationally renowned Swedish artist whose creations are delightfully original. Her work, as showcased by these stoneware pieces, consists of large sculptures and architectural ceramics employing a range of techniques.

Viotti’s style is an interesting mixture of different impressions, affected by her study of Etruscan pottery in Italy, which influenced the formal aspect of her work developing a figurative element. Also by a visit to Israel during the 1960s where she first experienced the combination of sculpture and architectural ceramics and met ceramic artists who used materials in a more free way. These stoneware pieces however, reflect her work in a stoneware factory in Jaffa when her aesthetic changed dramatically, and started recalling the structures of the landscape that manifested the feeling of 'forsakenness', a theme that often recurs in her later work. These pieces, while visually quite different, form a pair in an unexpected way. Stoneware fires darker colours, is less dense (higher porosity) and less vitreous, finally the fired surface is less homogeneous. As a result of these qualities, these mural pieces appear rough, almost abstract. At the same time, it is evident that the colours, every line and shape is the result of a well though-out process of sculpting. Works which appear to be non-figurative often do recall the visible world and so is the case here as well. It is hard to gaze away in the presence of these Viotti works. Both pieces are signed by the artist.

The blues and browns of the uneven layered forms convey a strong feeling of organic surfaces given further resonance with the diverse curved shapes and forms. Ulla Viotti’s small scale mural works are very rare and never repeated, making this pair even more special.

Condition:

In good vintage condition. Wear consistent with age and use.

Dimensions:

Brown piece

6.88 in W x 2.55 in D x 2.75 in H

‎17.5 cm W x 6.5 cm D x 7 cm H

Blue piece

2.95 in W x 2.16 in D x 8.46 in H

7.5 cm W x 5.5 cm D x 21.5 cm H

About the designer

Ulla Lilli Marianne Viotti was born on the 20th of November in 1933 in Eskilstuna, Sweden. She studied at the School of Art in Blackpool in Great Britain between 1950-1951 and at Konstfack in Stockholm 1952-1956, for the first two years at the ceramics department and then at the school's higher art-industrial department.

She was awarded a scholarship from the Swedish Crafts Association and a scholarship from the King's Fund in 1961, as well as a travel scholarship from Värmland's museum friends. Furthermore, she has exhibited in, among other places, Karlskoga and at Konsthantverkarna in Stockholm. Since 1958 she has participated in several exhibitions in Sweden but also outside of her home country. Internationally, she has been represented at exhibitions in Viterbo, Haifa and Tel-Aviv.

Since 2005, she has been living and working in Brantevik in Österlen. Her art consists of rustic utilitarian earthenware, ceramic sculptures and earthenware reliefs as well as paintings and drawings. Viotti is represented at, among others, the National Museum in Stockholm, the Värmland Museum, the Jönköping County Museum and the collections of the Israeli state.

Her work is represented in museums and collections throughout the UK and Sweden, including the collection in Aberystwyth. She participated in the first International Potters Festival, Aberystwyth in 1987. ~H.

‎‎

REQUEST PRICE HERE

Price category: 1,000 - 2,500 usd / eur

‎‎‎

Gunnar Ander was an industrial designer and architect, and one of the brightest stars of 20th-century Swedish metal, wood, and glass design. His most well-known models are the innovative designs for Ystad Metall, such as this unique pair of candle holders. His designs are represented in numerous museums in Sweden.

These black lacquered wrought iron and brass “Sonata” candle holders have an intrinsically modern, sculptural look. The versatile shapes and forms come alive thanks to the modern materials and the colour choice. Like with lamps, it says a lot about a design when it stands out even without its source of light, in this case, candles. With home improvements on the upswing, candlesticks and holders have found a resurgence, as they are rather impactful additions to any space despite their size. These candle holders can also serve as centrepieces on a table, as they are sure to draw attention. The smooth black lacquered iron bodies rest on a hollow circle base and curve upwards. Each of them have four brass cups with so-called chambersticks, small pans to catch dripping wax. The last cups have an elongated lower part ending in a brass sphere. This ingenious feature creates perfect balance as well as a focal point. The design is also customizable in the sense that any type and colour of candles can be placed in the cups to match the interior and personal preferences.

Gunnar Ander was a long-time employee at Ystad-Metall, where he designed utility and art objects in brass, silver, and other materials. The company was founded in 1919 in the south of Sweden. It was active until 1969 and was highly successful thanks to its stylistically pure objects of various metals. Many well-known Swedish designers like Ivar Ålenius-Björk, Carl-Einar Borgström also worked alongside Gunnar Ander during the company’s heyday.

Condition:

In good vintage condition. Wear consistent with age and use. The brass has a beautiful patina with some marks.

Dimensions:

8.66 in Ø  x 9.44 in H

22 cm Ø x 24 cm H

‎

REQUEST PRICE HERE

Price category: 1,000 - 2,500 usd / eur

‎

Bas van Pelt may be the most well-known for his seating designs, but this rare magazine rack shows the designer’s less known side. The design of this model feels contemporary and shows off the creativity of van Pelt.

This type of storage is often referred to as a display rack, which is especially apt for this model. The black lacquered wired metal body is arranged in an airy design that allows the display of magazines and books. The curving shape of the five arches create a modern, artistic look crowned - quite literally - by the single pole in the middle with a ring at the end. This feature gives the design that extra element that distinguishes it from other models, while also serving a functional role. The entire rack can be picked up easily thanks to the ring, further, it still manages to stand out and grab the eye despite its small size. The wooden bottom adds an organic touch that is a beloved feature of mid-century modern design and of Dutch designer, Bas van Pelt as well. It pairs very well with the black metal frame and both materials get visually enhanced as a consequence. The rack stands on four brass leg ends showing how attention was given to the smallest detail.

Whether used to hold magazines, newspapers or any other periodicals, this magazine display is sure to stand out. While serving a primarily functional role, this model is sure to stand out for its aesthetic qualities as well, reminding why mid-century modernism was one of the most creative design eras of all time.

‎

Condition:

In good vintage condition. Wear consistent with age and use. Some small marks on the wood.

Dimensions:

17.71 in W x 13.38 in D x 24.8 in H

45 cm W x 34 cm D x 63 cm H

About the designer:

Bas Van Pelt (1900 Dordrecht (NL) - 1945 Sandbostel (DE)) was a well-known Dutch interior and furniture designer, known for the clarity and quality of his designs. His works created in the 1930s and 1940s are regarded for their progressive design and quality.

While he is most well-known for his chair designs, van Pelt was also active as an interior designer. He also designed fabrics for window coverings, rugs and carpets, seating and tables, as well as lighting crafted by the best craftsmen in the Netherlands. He worked with multiple manufacturers, including his own firm, Bas van Pelt / My Home and Verto Verenigde Touwfabrikien, where his tubular metal designs were produced.He opened ‘My Home’ in 1931, just before the onset of the great crisis in the midst of major changes in the last century. In the façade of the shop, in the lively centre of The Hague, there was one large window placed so that everyone could look inside and see how things were made, and could be done differently; in his view, modern furniture at the time was light and airy, transparent, made of tubular steel frame, combined with wood. This view was very progressive for the 1930s, when the influence of The Hague School was still dominating most designers.

Unfortunately, in 1940 WWII changed the life of Bas van Pelt as well, who was on the board of the Haagse Kunstkring, where discussions about reconstruction after the war took place. Sadly, Bas van Pelt did not live to see it. He was deported because he gave people in hiding a safe place, saving many lives. While there is very limited information about his life and work, his furniture designs have become collectibles in the past decades that are also found in Dutch museums. Bas van Pelt is remembered as a progressive designer and as a man who saved lives. ~H.

‎

REQUEST PRICE HERE

Price category: 500 - 1,000 usd / eur

‎

From Charlotte Perriand to Axel Einar Hjorth, stools have been staples in European design history. Modernist stools, like this organic model, stem from one of the earliest forms of seating, the milking stool. With a highly functional history and modernist look, this stool is a rare and stylish piece.

The design is characteristically simple in its form with clean lines, organic materials, and robust legs. Like many of its Scandinavian contemporaries, this stool maker favoured the use of high-quality, beautifully grained wood and rush. This solid wood and rope stool stands out thanks to its seat, made of expertly woven rush. Stretched between the wooden frame, the seat’s texture and colour pairs beautifully with the wood. The rush weaving is exceptionally crisp, showcasing the layered pattern and the weaver’s skill equally. Furthermore, the seat has a subtle ergonomic shape thanks to the rush’s natural qualities to accommodate the sitter. The four, robust wooden legs are hand carved into their peculiar shape where only the outer side touches the floor, lifting the design up to create a light, effortless impression. Every functional part, including the thick legs, serve an aesthetic purpose as well. The lines are rounded out and complement the visually arresting pattern of the wood and the woven seat. The core principle of modernist design emphasizes that one should be in harmony with his or her environment, which therefore needs to be free of anything unnecessary. In line with this sentiment, this stool entirely focuses on its solid wood and rush material and well-crafted, hand woven seat.

Characterized by functionality, simplicity and clean lines, the design of this stool is all about harmony. Its organic charm is palpable and exudes a lot of charm. This model is the perfect piece to add some modern organic charm to any interior. The expertly woven rush seat and overall quality and craftsmanship guarantee longevity to this heirloom piece. 

Condition:

In good vintage condition. Wear consistent with age and use. Some small scratches and marks on the patinated wood.

Dimensions:

13.58 in W x 9.64 in D x 4.52 in H

34.5 cm W x 24.5 cm D x 11.5 cm H