Tall Footed Wooden Plate, Scandinavia 18th century (sold)
Tall Footed Wooden Plate, Scandinavia 18th century (sold)
This beautiful tall footed plate is simple, clean, and shows the handiwork that it cost to make it in a traditional Scandinavian style. With its historic details, this plate mixes well with modern spaces and design to create an interesting and charming style.
In Scandinavia, especially in Sweden, bowls and plates such as this one, were made with the technique called ‘pole lath bowl turning’, which is now an endangered craft. The ancient tradition of turning a wooden bowl or plate from green wood. While the action of the pole lathe and the skills required are similar to those employed on a modern power lathe, the timber used on a pole lathe is usually freshly felled and unseasoned, i.e., green. The pole lathe's origin is lost in antiquity; however, it is known that Vikings used them. This tall footed plate has several Scandinavian characteristics. One of these features is the material and its shape, which is generally described as a ‘primitive’ style. Secondly, the lack of ornamentation in service of functionality can be observed here, a feature that remained at the core of Scandinavian design to this day. The sole decorative feature are the lines carved into the wood throughout the design. Finally, the craftsman’s mark that can be found beneath the pedestal.
This treen plate has a lot of historical marks, which make it unique. Thanks to this, it can stand out in a modern interior to add not only visual, but also historical interest to the space.
SOLD
Condition:
In good vintage condition. Wear consistent with age and use. Some marks and scratches on the wooden top and base.
Dimensions:
10.82 in W x 12.59 in D x 3.93 in H
27.5 cm W x 30 cm D x 10 cm H
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Price category: 2,500 - 5,000 usd / eur
This bowl’s origins can be traced back to Rudolf Steiner’s circle and was made in the so-called Anthroposophic style. Aesthetically, the movement took established silhouettes and morphed them into warped geometries often comprised of multifaceted angular surfaces.
Anthroposophy was originally a school of thought that combined spirituality and materiality for a better humanity. According to Steiner, the thought can also be translated into forms and colours. Everything by which we are immediately surrounded in life takes on an artistic form, therefore furniture is capable of vivifying the environment and like this bowl, its approach to design is organic functionalism. The shape, lines and material of this piece show strength and dynamism, while still staying light and stylish. The bowl’s form is stylistically closer to the organic elegance of modernism, therefore it is guaranteed to fit into, and stand out in any style and type of space. The inherent organicity is also apparent in the shape that doesn’t follow strict geometric principles, instead, has a natural flow to it. 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.
Adding pieces like this to a modern interior not only creates a diverse and interesting aesthetic, it also reminds that perfection cannot be reached and perhaps should not even be the goal. Instead, recognising the beauty of the imperfect created by nature and reformed by a craftsman can bring happiness into everyday life.
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:
13.78 in W x 10.04 in D x 8.07 in H
35 cm W x 25.5 cm D x 20.5 cm H
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Price category: 2,500 - 5,000 usd / eur
In her works, Kati Tuominen-Niittylä explores the concept of the container, interpreting it with natural colours and timeless, clean lines. This allows her to rediscover the beauty of both simplicity and archaic forms. The surfaces, meticulously treated as a sort of meditative practice, recall the light and landscapes of the Nordic forests.
Her minimalistic and timeless language of forms appears in every inch of this bowl that is in the field between art, design, and handicraft. This model blends multiple techniques with extraordinary skill alternating between wheel-throwing, casting, and hand-building with a prevalence of textured, carved surfaces, all of which are high-fired. The result is a uniquely textured look that is influenced by the various ceramic masses, clay slurries, glazings, and surface structures the artist uses. The bowl is just as interesting from inside as it is from the outside, with darker colours that enhance the texture and patterns. The inherent organicity is also apparent in the shape that doesn’t follow strict geometric principles, instead, has a natural flow to it. As a designer, Tuominen-Niittylä has been one of those postmodernists who softened the worst edges of the style into a more user-friendly form. Or as she put it: “I like the quiet movement.” This bowl is signed with “KTN” at its neck.
Kati Tuominen-Niittylä’s works do not fit directly under any ready definition. They have the kind of archaic timelessness that is recognizable throughout the long period of human history as we know art objects. This bowl is stylistically closer to the elegance of modernism than the playfulness of postmodernism, guaranteed to stand out in any style and type of space.
Condition:
In good condition.
Dimensions:
16.3 in W x 10.23 in D x 10.43 in H
41.5 cm W x 26 cm D x 26.5 cm H
About the designer:
Kati Tuominen-Niittylä (Finish, b. 1947) is an internationally acclaimed ceramic artist living and working in Helsinki, Finland. Her elegant minimalist works blend multiple techniques with extraordinary skill alternating between wheel-throwing, casting, and hand-building with a prevalence of textured, carved surfaces, and all of which are high-fired.
Evoking archetypal silhouettes reminiscent of functional vessels such as buckets and basketry, as well as shapes found in nature, Tuominen-Niittylä creates objects that are refined and sophisticated yet with a rough plainness that is further emphasized by the earthy neutral hues. The objects appear almost ancient or geological. The interchanging of techniques also affords a uniqueness to each piece, and it often leads to new details and finishes. Although the works are suggestive of ancient functional forms, Tuominen-Niittylä creates each piece purely with artistic purpose.
Tuominen-Niittylä studied at the Aalto University School of Arts, Architecture and Design. She is a member of the Arabia Art Department Society and has designed for Arabia Studios. Her work is in the permanent collections of numerous public institutions including the Victoria & Albert Museum in London, the Finnish State Collections, and the Shigaraki Cultural Park Museum in Japan.
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Price category: 1,000 - 2,500 usd / eur
In 1934, Josef Frank made his first attempt at modernizing the classic candelabra. With softly swaying forms, he eliminated the base in the middle, placing the branches of this model directly on the tabletop. This candelabra emits a pleasant light and its special design makes it a perfect centrepiece.
Candlesticks and candle holders are appreciated decoration details that bring warmth and spread a soft glow in the room. In the case of this model, the body itself spreads a soft glow thanks to its bright brass structure. This model predates the famous Knot of Friendship, but already showcases the looping calligraphic design. The six branches share the same curve but are arranged asymmetrically so that the candles stand at different heights. This allows the design to look different from each angle. The candles elongate the otherwise busy design and keep the upper part light and airy while also highlighting the elaborate brass structure. The candles are held by brass cups that have so-called chambersticks, small pans to catch dripping wax. The cups have removable extra cups in an organic, flower-like shape. The glass has a golden rim to accentuate the shape and elevate the aesthetic of the whole candle holder.
The Austrian designer and architect, Josef Frank was the most prestigious designer in the Stockholm design company Svenskt Tenn (Swedish Pewter), recruited by the founder of the company, Estrid Ericson herself. Svenskt Tenn hired Josef Frank in 1934, the same year he created the design of this model, making it one of his earliest designs at the company.
Condition:
In good vintage condition. Wear consistent with age and use. The brass has a beautiful patina with some marks.
Dimensions:
11.81 in W x 11.81 in D x 8.66 in H
30 cm W x 30 cm D x 22 cm H
About the designer:
Josef Frank (July 15, 1885 – January 8, 1967) was an Austrian-born architect, artist, and designer who adopted Swedish citizenship in the latter half of his life. Together with Oskar Strnad, he created the Vienna School of Architecture, and its concept of Modern houses, housing, and interiors.
Josef Frank was one of early Vienna modernism’s foremost figures, but already in the beginning of the 1920s he started to question modernism’s growing pragmatism. He had little appreciation for the French architect Le Corbusier’s belief that a house should be “a machine for living in”. He was against puritanical principles and on the contrary, feared that standardized interiors would make people all too uniform. Josef Frank represented a freer, more artistic style ideal, and he developed his own type of modernism where values like comfort, hominess, and a wealth of colour were at its core. He resisted limitations and models for his furniture and textiles came from across all boundaries both in time and space.
Josef Frank began working at Svenskt Tenn in 1934 and just a few years later, the Frank-Ericson duo made their international breakthrough. Svenskt Tenn’s exhibition room at the World Expositions in Paris in 1937 and New York in 1939 was completely contrary to the ideal of the time with its bold contrasts in materials, colours, and prints. The duo received a great deal of attention and became, somewhat paradoxically, the model for the expression “Swedish Modern”. Although he was already 50 years old when he left Vienna for Sweden, Frank is considered one of Sweden’s most important designers.
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Price category: 1,000 - 2,500 usd / eur
This carved birch ladle originates from Sweden in the early 19th century, a period when everyday domestic objects were shaped by strong folk traditions and regional craftsmanship. In rural Scandinavian culture, utilitarian items were often carved by hand and given expressive forms that reflected both practicality and artistry. Birch, widely available and valued for its durability and fine grain, was a preferred material for household items, allowing makers to combine function with subtle decorative character.
This ladle is carved from a single piece of birch wood, its bowl smoothly hollowed and gently rounded to create a balanced, organic form. The handle extends fluidly from the body, curving upward into a sculptural hook-like shape that allows it to be hung if needed. Tool marks and natural variations in the wood grain remain visible, giving the surface warmth and authenticity while highlighting the hand-carved process. The proportions are carefully considered, with the broad bowl contrasting with the slender handle in a harmonious way. The soft patina suggests long use, adding depth and character without obscuring the clarity of the original carving. Subtle asymmetries further reinforce its handmade nature, making each angle slightly different and visually engaging.
Today, this early 19th century Swedish ladle stands as both a functional and a sculptural object. Whether displayed as part of a folk art collection, styled in a contemporary interior, or appreciated for its material honesty, it offers a connection to traditional Scandinavian craftsmanship. Its restrained elegance, tactile surface, and expressive silhouette make it a compelling example of how simple tools were elevated through skill and intention.
Condition:
In good vintage condition. Wear consistent with age and use. The sculpture has recently been reconditioned. Due to the nature of the material, the item may have some marks, scratches, and discolouration.
Dimensions:
7.87 in W x 10.62 in D x 5.90 in H
20 cm W x 27 cm D x 15 cm H
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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
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Price category: 5,000 - 7,500 usd / eur
Nature has been a source of inspiration for artists, craftsmen, and to people of all trades since the dawn of time. This traditional Dogon door from Mali is ideal to bring a piece of history into any space to marvel at the art of nature.
Dogon doors are carved wooden panels that have been used in Mali, West Africa by the Dogon people. The purpose of these doors was two-fold; to provide physical security for stored goods and to offer spiritual protection by warding off evil spirits. Many of these doors featured beautiful relief carvings, like the carvings present on this piece. This type of door was often crafted by a high-ranking blacksmith, since the Dogon door was considered more than just functional objects, but rather sacred. The motifs found on this piece symbolise fertility and life, as well as spirituality, wisdom and protection. Moreover, in the absence of modern polished surfaces, this door has textural, rough edges and surfaces, the wood takes pride in its qualities. The construction strips back the unnecessary, showcasing only its essential elements. The wood is left in its natural form as much as possible, while also prioritising functionality and longevity. In contemporary spaces, this door or room divider is the perfect furniture type to introduce organicity to an interior. This piece is sure to stand out for all the right reasons and spark interesting conversations.
As nature does not mass produce identically, this piece is truly one of a kind, with intense visual qualities, therefore it cannot be reproduced. This Dogon door can be a unique decoration for modern interiors, and here, the quality of timelessness isn’t even a question.
Condition:
In good vintage condition. Wear consistent with age and use. Item may have some marks, scratches, and discolouration.
Dimensions:
29.92 in W x 9.84 in D x 61.02 in H
76 cm W x 25 cm D x 155 cm H
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Price category: 1,000 - 2,500 usd / eur
Swedish sculptor, Olle Hermansson is primarily known for his cast iron sculptures and fire screens in his signature Brutalist style. The characters and shapes appearing in his works are often inspired by Nordic mythology.
In this piece, Hermansson uses the robust and weighty medium of cast iron to create a dynamic form that stands as both a piece of art and a reflection of Sweden’s industrial heritage. The sculpture is characterised by bold geometric shapes and textured surface, which provide both visual interest and tactile appeal. Hermansson’s mastery of form is evident in the way the sculpture plays with negative space, light, and shadow, creating an ever-changing visual experience which changes depending on the viewer's perspective. The design reflects the Brutalist ethos of the 1960s, emphasising ruggedness, and the exploration of materials. At the same time, it speaks to the organic qualities of nature, with curves and contours that soften the otherwise rigid structure of the cast iron. As a unique intersection of art and functionality, this sculpture stands as a testament to the collaborative spirit between artists and industry. The integration of modern design with industrial materials like cast iron not only celebrates the aesthetic possibilities of the material but also speaks to the cultural and economic climate of Sweden in the 1960s. Whether displayed indoors or outdoors, this work encapsulates the innovative energy of the era.
This Brutalist sculpture, with its distinctive design and robust materials, becomes a statement, a conversation starter, and a timeless addition that will elevate the aesthetics of any space it occupies.
Condition:
In good vintage condition. Wear consistent with age and use.
Dimensions:
13.38 in W x 6.49 in D x 14.37 in H
34 cm W x 16.5 cm D x 36.5 cm H
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Price category: 1,000 - 2,500 usd / eur
Magazine racks have been around since the middle ages, but as literacy rates increased around the world, and printed media became more accessible, they rose in popularity. By the mid-20th century, they represented an iconic piece of design that adapted to the style of the time. Pieces like this wooden rack reflect the Brutalist movement of the time, while still serving a functional purpose in an era before the widespread adoption of computers.
This wooden rack shows how designers paid great attention to small domestic items that served everyday life, while still contributing to a visually appealing interior. The piece has a highly architectural construction and hand-worked surface. The rack is built entirely from solid wood and composed through an arrangement of intersecting vertical and diagonal supports. The central handle rises upward in a tapering rectangular form, anchoring the composition visually while also functioning as a practical grip for moving the piece. Thin supports extend outward to hold the printed material. Along the lower section, the horizontal base introduces a strong Brutalist character through its organic look and visibly worked surface. The wood retains a rich natural grain throughout, while the slight natural variation of the structural elements prevent the composition from feeling rigid despite its geometric construction.
Rather than treating storage as purely functional, many designers of the mid-century managed to create pieces like magazine stands, newspaper holders, and side tables that additions to a room while maintaining their use. Even when empty, this magazine rack catches the eye, not through excess but through its masterful use of wood and unique form.
Condition:
In good vintage condition. Wear consistent with age and use. The magazine rack has recently been reconditioned. Due to the nature and age of the materials, the item may have some marks, scratches, and discolouration.
Dimensions:
16.54 in W x 12.01 in D x 20.87 in H
42 cm W x 30.5 cm D x 53 cm H
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Price category: 1,000 - 2,500 usd / eur
Wabi-sabi is an ancient Japanese philosophy that can be applied within interior design, and to anyone’s lifestyle as a whole. It is the practice of appreciating and accepting the beauty in simplicity, imperfections, and age. The expression defines the core principles behind this bowl’s aesthetic: minimalism, humbleness, and being in tune with nature, whilst appreciating the beauty of patina and wear. It takes inspiration from nature, which is rarely perfect or symmetrical and eventually decays.
In the absence of modern polished surfaces, this bowl has textural, rough edges and surfaces, while the wooden material takes pride in its qualities. The construction strips back the unnecessary, showcasing only the essential elements of it. The wood is left in its natural form as much as possible, while also prioritising functionality and longevity. Long before the mid-century, Asian designers and craftsmen believed that furniture should be shorn of aesthetic detail and represent the marriage of form and function. This bowl, lacking decoration but not aesthetic details, is a beautiful example of this mindset and the timeless charm of traditional craftsmanship.
The appreciation of rustic simplicity and craftsmanship has never completely gone out of style, but rather, in recent years, it saw an increase. Adding pieces, like this to a contemporary interior not only creates a diverse and interesting aesthetic, it also reminds that perfection cannot be reached and perhaps should not even be the goal. Instead, recognising the beauty of the imperfect created by nature and reformed by a craftsman can bring happiness into everyday life.
Condition:
In good vintage condition. Wear consistent with age and use. The bowl has recently been reconditioned. The item has some cracks. Due to the nature and age of the material, this item may have some marks, scratches, and discolouration.
Dimensions:
19.30 in ⌀ x 9.65 in H
49 cm ⌀ x 24.5 cm H
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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.
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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
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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