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Bruno Mathsson Eva Lounge Chair, 1940s Sweden

About the Item

First generation of the Eva lounge chair by Bruno Mathsson with full grain leather upholstered sleeve which is completely saddle stitched. Produced in the 1960s by Karl Mathsson in Sweden. Functional, elegant and comfortable armchair. Maker's mark on the back and Illums Bolighus label from the Danish retailer. The chair is in good vintage condition with normal signs of wear consistent with its age. The leather cover is new and custom made in high quality saddle leather in cognac color. H: 85cm W: 60cm D: 55cm SH: 36cm Normal signs of wear consistent with the age of the chairs.

Creator:

Bruno Mathsson (Designer)

Design:

Eva Chair

Dimensions:

Height: 33.47 in (85 cm)Width: 23.63 in (60 cm)Depth: 21.66 in (55 cm)Seat Height: 14.18 in (36 cm)

Style:

Scandinavian Modern (Of the Period)

Materials and Techniques:

Birch,Leather

Place of Origin:

Sweden

Period:

1940-1949

Date of Manufacture:

1940s

Condition:

Reupholstered. Wear consistent with age and use.

Seller Location:

Balen, BE

Reference Number:

1stDibs: LU8743236044612

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Shop All Bruno Mathsson

Bruno Mathsson

As the descendant of four generations of Swedish master cabinetmakers, Bruno Mathsson was born to design furniture. Mathsson was known as a methodical perfectionist who made usefulness the fundamental attribute of his iconic lounge chairs, tables, armchairs and other works, yet he was also a ceaseless experimenter, who constantly searched for improvements in form, materials and methods of design.

Like the Finnish designer Alvar Aalto, Mathsson was one of the first Scandinavians to embrace undulating, biomorphic forms in furniture. His early pieces such as the Eva and Pernilla series of chairs incorporate dramatically flowing bent beechwood frames, making them some of the most instantly recognizable works of 20th-century design.

Mathsson was also a pioneer of ergonomics — he is said to have based the contours of his chairs on the impression his body made when he sat in a snow bank — and used supple, accommodating woven webbing for seats. His concern for practicality is shown by pieces such as the Maria table. An elegant design with gate legs and hinged leaves, the table measures more than nine feet long when fully extended, but folds down to just nine inches in thickness.

From the mid-1940s through the 1950s, Mathsson focused on architecture, designing and building houses with insulated, triple-glazed window walls and heated floors — construction that flew in the face of traditional wood-clad Swedish residential design, and consequently met with some skepticism. He returned to furniture in the 1960s, employing an entirely new suite of materials: Stainless-steel framing and mesh seats feature in pieces like the Jetson chair; with the mathematician Piet Hein, Mathsson designed the Super-Elliptical table, which has a laminate top and four-part tubular steel legs that sprout like flower stems from a single base.

Bruno Mathsson’s stylistic flexibility as a designer made him a creator whose pieces meet all tastes and needs.

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