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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

Axel Einar Hjorth’s designs 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 often incorporated playful ornamentation from different historical periods by which he was inspired, such as the French Art Déco, using mixed exotic woods, bright colours, and textiles, as this “Radio” chair showcases.

Designed in the first half of the 20th century, this armchair possesses a refined and slender appearance with distinctive details. The chair displays a clearly defined wooden frame with a neatly upholstered seat. The sleek wooden frame offers a beautiful contrast to the upholstery, creating a visually captivating aesthetic. With these characteristics, the chair makes for a harmonious balance between contemporary elegance and traditional style. Even though Swedish design is generally democratic and meant for the masses, pieces were not stripped of their beauty for the sake of functionality. The importance of this balance can be identified in the design and execution of this armchair as well. The craftsmanship displayed in this armchair model is a testament to the high standards of Swedish design in the early 20th century, reflecting both the technical skill and artistic vision of Hjorth and Nordiska Kompaniet. This chair not only serves as functional furniture but as a timeless work of art, showcasing the elegance and innovation of the era.

The Swedish company Nordiska Kompaniet manufactured this armchair with utmost care for its quality and design. Axel Einar Hjorth worked as the lead designer for the department store from 1926 to 1938. The company was among the most renowned Swedish manufacturers during the mid-century era, working with some of the most well-known Scandinavian designers - and this "Radio" model is a prime example of the great success these collaborations resulted in.

Condition:

In good vintage condition. Wear consistent with age and use. The armchair has recently been reconditioned. The wood has some scratches and stains. Due to the age and nature of the wood, the chair may have marks and discolouration. The chair comes with its original upholstery or has been reupholstered by a previous owner. We recommend reupholstery due to some signs of wear. Each of our items can be reupholstered by our in-house atelier in a fabric of choice. Please reach out for more information.

Dimensions:

22.44 in W x 23.23 in D x 37.99 in H; Seat height 18.11 in; Seat depth 17.52 in; Arm height 26.77 in

57 cm W x 59 cm D x 96.5 cm H; Seat height 46 cm; Seat depth 44.5 cm; Arm height 68 cm

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

This “Lilla Eva” model is from the timeless and iconic Paradise Collection, which was created by Kerstin Hörlin-Holmquist during her time as a designer at Nordiska Kompaniet. The name is inspired by “Paradiset” – the Swedish name for Eden.

This chair holds a soft simplicity and a uniqueness in its appearance - light, clean lines with an air of romance. Without worrying about short-lived trends and what other people thought, Hörlin-Holmquist created the peculiar shape of “Lilla Eva” chairs that is only increasing in popularity. Thanks to her unique vision, these chairs have an unmistakeable backrest that flows down to form the armrests. While the armrests sit low, therefore opening the seats, the chair still gives the impression of hugging the sitter. The upholstered body elevates the visual comfort, with tufted backrests that are festooned with nine symmetrically arranged buttons.

The upholstery is a premium brown fabric with a soft touch that complements the aesthetic of Hörlin-Holmquist’s design. The cross stitches give this chair a modern flair, contrasting stylishly to the fabric. Similarly, the stained and tapered wood legs pair perfectly with the sculptural and organic form of the body. Kerstin Hörlin-Holmquist had a unique and humanistic design vision, and thanks to her uncompromising attitude, “Little Eva” easy chairs have become iconic.

Condition:

In good vintage condition. Wear consistent with age and use. The chair has recently been reconditioned. Due to the nature and age of the materials, the chair may have marks, scratches, and discolouration. The chair has been reupholstered recently in 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:

27.55 in W x 30.51 in D x 32.67 in H; Seat height 15.15 in

70 cm W x 77.5 cm D x 83 cm H; Seat height 38.5 cm

About the Designer:

Kerstin Hörlin-Holmquist was born on May 30, 1925 in Arvika, Sweden. She was a Swedish modernist architect and designer. Hörlin-Holmquist graduated from Stockholm’s Konstfack in 1952, and before that she studied and worked in England.

She often worked with her husband Erik Holmquist, and together they modelled and created the pieces together. A key aspect for the couple was always to test their designs in their own home before completing a project.

"I think both furniture and textiles, wherever they end up, must be kind, gentle and courteous, but without losing their character. They should have human qualities, not be pompous and only stand alone, but be able to adapt to the environment they end up in..."

Holmquist worked and studied in England from 1946-1947 immediately after the war where she also studied art history and became fascinated with the classic English upholstered furniture and style. Something that without a doubt inspired her own creations later in life while she still developed her own expression. She returned to Sweden where she attended Konstfack from 1948 and graduated from the school in 1952. She started working with Nordiska Kompaniet shortly after her graduation and became a lead designer. Her timeless and iconic ‘Paradiset Collection’ was created during her employment with Nordiska Kompaniet in 1956-1957 and holds a soft simplicity and a uniqueness in its appearance - light, clean lines and yet gracious with an air of romance.

Today, her designs are highly treasured collectibles. She is primarily remembered, for her ability to create designs for the modern home in the 1950s without worrying about short-lived trends and what other people thought - to stay true to her own unique and humanistic design vision.