Jugendstil Oak Armchair by Nordiska Kompaniet, Sweden 1913 (sold)
Jugendstil Oak Armchair by Nordiska Kompaniet, Sweden 1913 (sold)
Art Nouveau is known in different languages by different names, such as “Jugendstil” (Youth Style) in German, or “Jugend” for short. The movement was often inspired by natural forms such as the sinuous curves of plants and flowers. This armchair is a quintessential example of the Jugendstil movement.
The design of this chair features a harmonious blend of nature-inspired curves and flowing lines, which were central to the style's ethos of integrating art with everyday life. The chair is crafted from rich oak, a wood chosen for both its strength and beauty, and features organically shaped arms that evoke the fluidity of plant forms. The armrest’s sinuous curves, provide a sense of comfort while also enhancing the chair’s graceful silhouette. Each element of the chair— from the backrest to the sculpted cross-stretchers— is designed to reflect a sense of natural growth and elegance. The overall form of the chair is grounded yet dynamic, capturing the essence of organic shapes while maintaining a refined, purposeful structure. Upholstered in a soft, striped off-white fabric, the seat provides a comfortable contrast to the solid oak frame. The cushioning is designed to balance both beauty and function, providing support while contributing to the overall aesthetic of the piece.
The craftsmanship displayed in this armchair is a testament to the high standards of Swedish design in the early 20th century, reflecting both the technical skill and artistic vision of Nordiska Kompaniet. This chair not only serves as functional furniture but as a timeless work of art, showcasing the elegance and innovation of the Jugendstil movement.
SOLD
Condition:
In good vintage condition. Wear consistent with age and use. Some marks and scratches on the wood. The seat cushion has been reupholstered recently in a premium fabric. Each of our items can be re-upholstered by our in-house atelier in a fabric of choice. Please reach out for more information.
Dimensions:
22.83 in W x 23.42 in D x 31.89 in H; Seat height 18.50 in; Seat depth 19.29 in; Arm height 26.18 in
58 cm W x 59.5 cm D x 81 cm H; Seat height 47 cm; Seat depth 49 cm; Arm height 66.5 cm
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Price category: 15,000 - 20,000 usd / eur
Swedish architect and furniture designer Axel Einar Hjorth served as the lead designer for Sweden’s Nordiska Kompaniet department store from 1926 to 1938. During this time, Hjorth designed the “Sportstugemöbler” series, (which translates to “sports cabin furnishings”) a collection of wooden furniture designed for country homes. The various models in the sportstugemöbler series took their names from the Stockholm archipelago – including Blidö, Lovö, and famously, Utö.
These Utö chairs were designed in 1932 as part of the collection. Unlike the department store's interiors for floors and villas in the cities, the Utö designs had a simple character with robust and basic shapes in solid pine. Accordingly, the design of these chairs focuses on simple lines and the material itself. Made of pine wood, these chairs are strong, reflecting Hjorth’s principles in which he mixed the ideals of the modernist movement with provincial Swedish traditions. As a result, the design of this set is completely timeless. Each chair demonstrates a conscious construction, where the joinery and fittings related to traditional craftsmanship are emphasized. Dominated by rounded, straight lines, the chairs have spindle backrests and ergonomically carved seats. The form alludes harmony and stability, fitting the summer cabin concept perfectly.
In an international perspective, Hjorth's “sportstugemöbler” series was the forerunner of later pioneering designers such as Charlotte Perriand. It is therefore no surprise that these Utö chairs became part of Swedish and international modernist design history. In their time, the Utö collection may have appeared as pioneering and radical, but today they are viewed as status symbols in interiors of international character.
Condition:
In good vintage condition. Wear consistent with age and use. Some marks and stains on the wood. Due to the nature and age of the wood, the items may have scratches and discolouration.
Dimensions:
18.89 in W x 18.3 in D x 31.49 in H; Seat height 16.92 in
48 cm W x 46.5 cm D x 80 cm H; Seat height 43 cm
Literature:
Christian Bjork, Thomas Ekstrom and Eric Ericson, 'Axel Einar Hjorth: Mobelarkitekt', Stockholm, 2009, p.130
About the designer:
Axel Einar Hjorth was born in a small Swedish village named Krokek, just outside Norrköping, on March 7, 1888. At the age of 20, he moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan.
Although he never graduated, in the 1920s Hjorth started working as a furniture designer for various manufacturers, such as H. Joop & Co., Myrestedt & Stern, Jonssons, and Nordiska Kompaniet. Hjorth’s designs from this period had neoclassical features combined with Swedish Grace. This romantic national style of Sweden was elegant and refined, yet simple. The anniversary exhibition of 1923 in Gothenburg marked the breakthrough of Swedish decorative arts, and made Axel Einar Hjorth a well-respected artist. From October 1926, Hjorth became the chief designer and architect of Nordiska Kompaniet department store in Stockholm. In the 1930s, Hjorth designed a furniture collection out of pine meant for serial production known as Sportstugemöbler (furniture for holiday houses).
Hjorth’s designs, from the luxury of neoclassicism to the severity of functionalism, are sharply distinctive in style, materials, and character. Unlike many of his contemporaries, Hjorth did not conform to the socially oriented ideas produced by Svensk Form (the Swedish Society of Crafts and Design). He played a significant role in the development of Swedish society as a whole, and particularly in Swedish industrial art
Today Hjorth is often viewed as a precursor to the modern designs popularized by Charlotte Perriand, Jean Royére, Pierre Chapo, or Josef Frank. Recently, there has been a revival of appreciation for his work, showing his genius in a new light. ~H.