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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.

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

The dark wood, the beautiful upholstery, and timeless design in the manner of Erik Bertil Karlén make this rare easy chair a beautiful representation of Swedish mid-century modern design history.

For this model, nature was evidently a great source of inspiration, therefore sharp edges or corners can rarely be found. With a tremendous sense of proportion, this chair model is very comfortable and fulfils its task to “serve well” and last for lifetimes. Without any ornamentation, the focus here is on the round, flowing lines of the body and its upholstery. The design has the wingback look with sides that embrace the sitter in a cosy way. On the upper end, the “wings” curve outward, which opens up the design. What makes this model special is how the back and seat form one unit both visually and structurally. This shell-like form has a masterful curve that follows the human body’s shape therefore the chair is very ergonomic. The dark, wooden tapered legs are connected by stretchers on the sides and highlight the body with their understated look. The light upholstery with appealing button tufting provides an elegant look with its textured look and a cosy sitting experience thanks to its softness.

Swedish Modern design is a distinctive style that represents a design philosophy, guided by functionality, simplicity and clean lines. The design of this model is in favour of the user, maintaining the focus on authentic simplicity.

Condition:

In very good vintage condition. Wear consistent with age and use. The chair 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:

28.14 in W x 28.74in D x 33.26 in H; Seat height 16.14 in

71.5 cm W x 73 cm D x 84.5 cm H; Seat height 41 cm

Literature:

Form: Svenska slöjdföreningens tidskrift, Svenska slöjdföreningen, Stockholm, 1943, p. 87.
Hedqvist, Hedvig & Björk, Christian, "Swedish Modern : En historia om modernismens yttringar i Sverige genom design, inredning och formgivning", Orosdi-Back, 2018, p. 228-229.

About the designer:

Erik Bertil Karlén was born on February 22, 1912 in Sundbyberg, Sweden. He was a Swedish architect and designer. His architecture characterized many areas of Stockholm’s suburbs from the 1940s, 50s and 60s.

After his training as an architect at KTH in the 1930s, Karlén got a job as an architect at Fortifikationsstyrelsen's Kasernbyrå in 1940. One of his major works at this time was designing the buildings for Svea Livgarde in Sörentorp, Solna municipality, which was completed in 1946. He gave the buildings a simple but careful architectural style using predominantly red brick as the facade material. Some had brick in combination with dark-glazed wood panels.

As many of his contemporary Scandinavian architects, Karlén also designed furniture, mostly seating models. His designs however, remain very rare to this day.

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Price category: 12,500 - 15,000 usd / eur

The “Oskar” armchair was designed in 1939; a busy year for Carl Malmsten as he also participated in the New York World Fair. It was at this fair where the expression “Swedish Modern” was coined, but Malmsten remained a traditionalist, mainly concerned with comfort in the home.

As with so many of Malmsten’s pieces of furniture, Oskar was modelled on an earlier design. This pair belongs to Carl Malmsten's earlier works, and the structures are made of solid pine from Swedish forests. As it can be expected from the “Master of Wood”, the frames are expertly designed, with ergonomic and aesthetic principles at their core. While these armchairs may seem less “Malmstenesque”, they already have the gentle curves that defined his later designs. This is especially visible in the flowing armrests that descend from the top, curling outwards to create a welcoming look. The gently bent backrests are tufted with dark yellow stitches that contrast with the light bouclé upholstery both in colour and texture to create a stylish, visually interesting look. The structures are supported by the tapered, solid pine legs that add an organic touch to the design. This chair model is reminiscent of the furnishings of the sitting room of Ulriksdal Palace, which was given to the crown prince and princess, Gustav and Louise, by the Swedish people in 1923. Malmsten was commissioned to create the decor for the room, and the Oscar armchair may have been a template for this period and perhaps that is why Carl Malmsten gave the chair a royal-sounding name.

The company known today as O.H. Sjögren was established as early as the 1870s. Carl Malmsten, who had hitherto only produced the most exclusive and unique furniture for a limited and affluent clientele, sought manufacturers who were able to produce his furniture in larger volumes without compromising the high demands he placed on craftsmanship and quality. He chose O.H. Sjögren, and together they developed and marketed the many items of upholstered furniture that have become classics today.

Condition:

In good vintage condition. Wear consistent with age and use. The chairs have been reupholstered recently in a premium fabric. Each of our items can be reupholstered by our in-house atelier in a fabric of choice. Please reach out for more information.

Dimensions:

28.74 in W x 29.92 in D x 37.4 in H; Seat height 16.33 in

73 cm W x 76 cm D x 95 cm H; Seat height 41.5 cm

About the Designer:

Carl Malmsten (December 7, 1888 – August 13, 1972) was a Swedish furniture designer, architect, and educator. Malmsten was born in Stockholm, Sweden. Malmsten's career took off when he won a competition in 1916 to design furniture for the Stockholm City Hall and shortly after in 1917, he exhibited alongside well-known Swedish architects such as Gunnar Asplund and Uno Åhrén.

In the 1920s he was invited to furnish a room for the crown prince, Gustaf VI Adolf, and his wife Louise in Ulriksdal Palace. He was honoured with an inaugural Prince Eugen Medal for design in 1945. Already as a young designer in the early 20th century, Carl Malmsten advocated an artisanal furniture design based on local ingredients and traditions, available to a wide audience at a reasonable price.

Nature was Carl Malmsten's foremost teacher and source of inspiration. He conveyed his love of craftsmanship as a teacher in his own schools, at Olofskolan in Stockholm, Capellagården on Öland and the Carl Malmsten school on Lidingö, today a branch of Linköping University and one of the country's leading design colleges. As a debater, Malmsten stormed against functionalism, but in retrospect it can be seen that his ideas often coincided with the rational and frugal style ideals of function.

Malmsten has had a lasting influence on Swedish furniture design through the two schools he founded—the Carl Malmsten Furniture Studies (Carl Malmstensskolan), which has been a part of Linköping University since 2000, is situated on the island of Lidingö on the outskirts of Stockholm. Carl Malmsten spoke about the importance of tradition, craftsmanship and the nation. His furniture was in many ways a product of the thoughts and ideals of the time, they have a timeless quality that makes them just as relevant and loved today.

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

Throughout Scandinavia, there's a long history of craftsmanship which is especially true of Denmark and one of its most reputable furniture makers, Fritz Hansen. This beautiful chair is an exceptional flag bearer of Danish Mid-Century Modernism with an immediately recognisable look.

When the Copenhagen-based furniture maker Fritz Hansen opened for business more than 140 years ago, the company adhered to the traditional, time-honoured Danish values of craftsmanship in woodworking and joinery. Yet thanks to the postwar innovations of Arne Jacobsen and others, the company would become the country’s leader in Scandinavian modern design using new, forward-looking materials and methods. This model “1514” chair was designed in the 1940s. This design features stained beech legs. The back legs are slightly bent, which is a unique characteristic of Fritz Hansen’s designs. The seats and backrests are upholstered in a beautiful navy-blue fabric. The back of the chair is gently curved, accommodating the sitter. The slightly bulged seat offers great comfort, while visually complementing the backrest’s shape. The model “1514” chair illustrates the essence of an open and welcoming chair, that suits any interior. This piece is comfortable and sculptural at the very same time, a great example of Fritz Hansen’s quality works.

This Danish modern chair in many ways transcends the word ‘modern’. It has a style that can be incorporated successfully into contemporary and traditional interiors, urban and country alike, lending itself to a timeless and universal appeal.

About the designer:

Fritz Hansen’s history goes back to 1872. That year, the cabinet maker opened his workshop in Copenhagen under his name. Along with his son, Christian, Fitz Hansen started the production of high-quality furniture in 1885. The Fritz Hansen manufactory (a.k.a. Republic of Fritz Hansen) earned recognition and reputation for furnishing prestigious institutions such as the Copenhagen City Hall, the University Library and the Danish Supreme Court. 

In the beginning of the 20th century, the manufactory started experimenting with a technique called ‘steam bending’, which ultimately led Fritz Hansen to become the world leader in the field in the 1930s. What started in 1915 with a steam bent beech chair, eventually made the company the specialist of laminate wood.

Thanks to Fritz Hansen’s collaborations with designers like Kaare Klint, the company played an important part in the development of what is today known as ‘Scandinavian design’. Post-war collaborations included Hans Wegner, Borge Mogensen and Arne Jacobsen. Jacobsen dominated the company’s designs in the 1950s, and among other world-famous designs, led to the creation of the ‘Egg chair” (1958).

Condition:

In good vintage condition. Wear consistent with age and use. Due to the nature and age of the chair, the legs have some small scratches and marks. The chair has recently been reupholstered in a premium fabric. Each of our items can be reupholstered by our in-house atelier in a fabric of choice. Please reach out for more information.

Dimensions:

23.63 in W. x 23.23 in D x 27.56 in H

60 cm W x 59 cm D x 70 cm H

Literature:

Fritz Hansen Catalogue 4202

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Price category: 5,000 - 7,500 usd / eur

Art Deco pieces used bold geometry to create iconic elements of interior design.  While the movement is frequently associated with angular silhouettes and decorative detailing, many Scandinavian interpretations introduced a calmer and more restrained approach and rounder forms. Danish furniture makers in particular favoured sculptural curves and high-quality upholstery to define the character of a piece rather than relying on excessive ornamentation.

This shift produced seating that retained the elegance of Art Deco while moving toward the softer sensibility that would later define Scandinavian modernism. Through its strong contours and carefully balanced proportions, this 1930s danish armchair is reflective of its era. The most distinctive feature is the oversized circular armrests, which frame the seat in a bold, sculptural manner. The curved shape creates a strong visual rhythm while softening the otherwise classic structure of the chair. The body is fully upholstered in a thick boucle fabric whose textured surface enhances the softness of the silhouette across the curves. The backrest rises slightly above the armrests and complements the roundness of the arms with its more angular look, without disrupting its appearance. Beneath the body, the chair rests on a low wooden plinth base with small feet, grounding the form and providing visual contrast to the softness above. The restrained palette further emphasises the shapes and allows the sculptural quality of the armrests to remain the focal point.

The interplay between the upholstery and the dark wooden base gives the chair a controlled sense of weight and balance. Rather than appearing delicate or overly decorative, the design feels strong while still prioritising comfort. This piece demonstrates the refined elegance that characterised Danish interpretations of Art Deco seating.

Condition:

In good vintage condition. Wear consistent with age and use. The chair has recently been reconditioned. The item has recently been reupholstered 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:

30.31 in W x 37.01 in D x 34.25 in H; Seat height 16.14 in; Seat depth 20.47 in; Arm height 23.62 in

77 cm W x 94 cm D x 87 cm H; Seat height 41 cm; Seat Depth 52 cm; Arm height 60 cm

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Price category: 9,000 - 12,500 usd / eur

Strongly influenced by the functional forms of the Bauhaus school in Germany, Danish designers led the way in furniture design during the 1950s. They combined the inspiration brought by new industrial technologies with minimalist design. This style became so influential that it is recognized as a design movement in itself, entitled Danish Design with a subgroup known as Danish Modern.

Danish Modern focused more on the aesthetics of modern design whilst employing the exquisite technique and material familiarity of highly skilled craftsmen such as cabinetmakers. This armchair is a great example of the style with its clean and pure lines coupled with craftsmanship and delicate research into proportions, materials and the requirements of the human body. Adopting the trend of abandoning ornamentation to benefit the form, this chair’s designer and manufacturer both maintained the beauty and warmth inherent to traditional Danish cabinetmaking. The body has gentle, rounded lines that are visible even through the luscious upholstery. The round edges even apply to the wooden feet in the front, which are referred to as “bun feet” which is a shape of a flattened sphere. The modern aesthetic is further elevated by the textured, premium upholstery that complements the shape and the wooden feet as well. Sheepskin is the ultimate material for comfort, warm in the winter and cool in the summer. It elevates the sheer size and shape of the chair, especially around the edges.

From every single angle, this armchair offers stunning lines and a rich texture. Above all, Danish designers believed that design could certainly be used to improve people's lives. Looking at this armchair, this was evidently and too far-fetched ideal.

Condition:

In good vintage condition. Wear consistent with age and use. The chair has been reupholstered recently in premium sheepskin. Each of our items can be reupholstered by our in-house atelier in a fabric of choice. Please reach out for more information.

Dimensions:

31.88 in W x 40.15 in D x 33.07 in H; Seat height 16.53 in

81 cm W x 102 cm D x 84 cm H; Seat height 42 cm

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Price category: 5,000 - 7,500 usd / eur

The ‘Oskar’ armchair was designed in 1939, the same year that Carl Malmsten participated in the New York World’s Fair. It was there that the expression “Swedish Modern” was coined, but Malmsten remained a traditionalist, mainly concerned with comfort in the home.

As with so many of Malmsten’s pieces of furniture, “Oskar” was modelled on an earlier design – his own or from previous generations. This armchair belongs to Carl Malmsten's earlier works, and the structure is traditionally made of solid pine from Swedish forests. As can be expected from the “Master of Wood”, the frame is expertly designed, with ergonomic and aesthetic principles at its core. While this armchair may seem less “Malmstenesque”, it already has the gentle curves that defined Malmsten’s later designs. This is especially visible in the flowing armrests that descend from the top, curling outwards to create a welcoming look. The gently bent backrest is tufted with dark yellow stitches that contrast with the light bouclé upholstery, both in colour and texture to create a stylish, visually interesting look. The structure is supported by the tapered, solid pine legs that add an organic touch to the design.

The design is reminiscent of the furnishings of the sitting room of Ulriksdal Palace, which was given to the crown prince and princess, Gustav and Louise, by the Swedish people in 1923. Malmsten was commissioned to create the decor for the room, and the ‘Oskar’ armchair may have been a template for this period, and perhaps that is why Carl Malmsten gave the chair a royal-sounding name. The company known today as O.H. Sjögren was established as early as the 1870s. Carl Malmsten, who had hitherto only produced the most exclusive and unique furniture for a limited and affluent clientele, sought manufacturers who were able to produce his furniture in larger volumes without compromising the high demands he placed on craftsmanship and quality. He chose O.H. Sjögren, and together they developed and marketed the many items of upholstered furniture that have become classics today.

Condition:

In good vintage condition. Wear consistent with age and use. The chair has been reupholstered recently in a premium bouclé 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:

28.74 in W x 29.92 in D x 37.4 in H; Seat height 16.33 in

73 cm W x 76 cm D x 95 cm H; Seat height 41.5 cm

About the Designer:

Carl Malmsten (December 7, 1888 – August 13, 1972) was a Swedish furniture designer, architect, and educator. Malmsten was born in Stockholm, Sweden. Malmsten's career took off when he won a competition in 1916 to design furniture for the Stockholm City Hall and shortly after in 1917, he exhibited alongside well-known Swedish architects such as Gunnar Asplund and Uno Åhrén.

In the 1920s he was invited to furnish a room for the crown prince, Gustaf VI Adolf, and his wife Louise in Ulriksdal Palace. He was honoured with an inaugural Prince Eugen Medal for design in 1945. Already as a young designer in the early 20th century, Carl Malmsten advocated an artisanal furniture design based on local materials and traditions, available to a wide audience at a reasonable price.

Nature was Carl Malmsten's foremost teacher and source of inspiration. He conveyed his love of craftsmanship as a teacher in his own schools, at Olofskolan in Stockholm, Capellagården on Öland and the Carl Malmsten school on Lidingö, today a branch of Linköping University and one of the country's leading design colleges. As a debater, Malmsten stormed against functionalism, but in retrospect it can be seen that his ideas often coincided with the rational and frugal style ideals of function.

Malmsten has had a lasting influence on Swedish furniture design through the two schools he founded—the Carl Malmsten Furniture Studies (Carl Malmstensskolan), which has been a part of Linköping University since 2000, is situated on the island of Lidingö on the outskirts of Stockholm. Carl Malmsten spoke about the importance of tradition, craftsmanship and the nation. His furniture was in many ways a product of the thoughts and ideals of the time, they have a timeless quality that makes them just as relevant and loved today.

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Price category: 5,000 - 7,500 usd / eur

Swedish design is characterised by a minimal, clean approach that seeks to combine functionality with beauty. The mastery of Swedish designer and architect, Bertil Fridhagen lies in creating a model that is, as its name suggests, aristocratic and minimal at the same time.

This stunning pair of solid walnut armchairs combines elements of classical and modern design with utmost quality. The solid walnut beautifully frames the upholstered bodies, outlining the welcoming silhouette of the chairs. The frames have a stunning curvaceous design, that is visually appealing from all angles. The embracing body’s curve enhances the beautiful original chenille upholstery with small deep-stitched buttons. Swedish design prefers colours rooted in nature, muted tones that aren’t screaming about their presence, but still attract the eye naturally. The chairs’ yellow chenille upholstery is a wonderful example of this ideal. The cushions are removeable and reversible, adding to the comfort of the sitter.

Bröderna Andersson, the chairs’ manufacturer is first and foremost characterised by Swedish quality, Småland craftsmanship and professional pride. At Bröderna Andersson's, the entire production chain was under one roof. From the choice of wood species to the production of frames, and careful attention so that the last seam is in place, quality is Bröderna Andersson’s word of honour.

Condition:

In good vintage condition. Wear consistent with age and use. Some scratches and marks on the wood. The chairs retain their original upholstery or have been reupholstered by a previous owner. 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:

32.08 in W x 32.48 in D x 32.48 in H; Seat height 19.48 in

81.5 cm W x 82.5 D x 82.5 cm H; Seat height 49.5 cm

About the Designer:

Bertil August Julius Fridhagen was born on February 16 in1905 in Norra Sandsjö parish, Jönköping county, and was a renowned Swedish architect and furniture designer.

Bertil Fridhagen grew up in Bodafors. His father was a carpenter and he also started as a carpenter at AB Svenska Möbelfabrikerna in Bodafors, where he became the student of the architect Carl Erik Ekholm. Later, he decided to further his education at Konstfack in Stockholm. In a reversed way, Fridhagen started out gaining experience in cabinetry before completing his formal education in architecture.

He returned to Bodafors in 1937, where at first, he was employed at Sandsjö Möbelfabrik (1937-39) and then became chief architect at Svenska Möbelfabrikerna in Bodafors, where he succeeded his teacher, Ekholm. He became an important figure for the success of Svenska Möbelfabrikerna and in 1964 Bertil Fridhagen's models accounted for two thirds of home furniture production, which was an extreme success. For comparison, the much more well-known designer, Carl Malmsten's models accounted for a quarter. Bertil Fridhagen's biggest sales success was the combination series “Variett”.

Fridhagen won numerous prizes at various design competitions, including in Denmark in 1954, the California State Fair in Sacramento with the Librettserien in 1956, in Italy in 1966, 1968 and 1970 and in Tennessee in 1972. He also designed buildings, but above all interiors, he is remembered for the Bodafors church. The designer is remembered for his versatile models which are beautiful examples of Swedish design ideals. ~H.