Johan Akerblad

With clean lines and muted colors, antique Gustavian furniture is understated and elegant. It represents a more restrained version of the transition from Rococo to neoclassicism that was happening in France under Louis XVI. The style developed under Swedish King Gustav III, who reigned from 1771 until his assassination in 1792, and his son Gustav IV, who ruled until 1809. Although Gustavian furniture is mostly used to refer to pale painted cabinets, commodes, armchairs and other items, it involved a range of influences.

Gustavian-style furniture was inspired by discoveries at Pompeii and Herculaneum as well as the grandeur of European palaces like Versailles, with local softwoods such as pine and birch. There was also an emphasis on natural light; crystal chandeliers and large mirrors played a role in radiating the fleeting daylight of winter, giving it a distinctive aesthetic.

Where earlier furniture was curvy and florid, this new era was more architectural, with tapered and fluted legs and rectangular and oval shapes. Luminous gilt contrasted with the palette of soft blues on upholstery and painted surfaces. Leading furniture builders included Gottlieb Iwersson, Louis Masreliez and Erik Öhrmark. The latter, a French-born Swedish decorator, designed the Sulla chair, a seat that was demonstrative of technical skill and precise craftsmanship and drew on Greek klismos chairs. Masreliez’s Sulla chair was made by Öhrmark and featured decorative ornamentation produced by Jean-Baptiste Masreliez, Louis’s younger brother.

While the wealthy had furniture carved with neoclassical details like scallops and rosettes, more affordable options were adorned with faux finishes that mimicked marble and stenciled patterns. The simple elegance of Gustavian furniture would have a long impact on Swedish design, informing the 20th-century appreciation for function and form. In the 1950s, IKEA mass-produced copies of a Gustavian commode designed by cabinetmaker Georg Haupt, who created pieces for the Royal Palace, making the furniture a fixture of everyday Swedish life.

Find a collection of antique Gustavian seating, tables, decorative objects and other furniture on 1stDibs.

The road from early innovations in reflective glass to the alluring antique and vintage mirrors in trendy modern interiors has been a long one but we’re reminded of the journey everywhere we look.

In many respects, wall mirrors, floor mirrors and full-length mirrors are to interior design what jeans are to dressing. Exceedingly versatile. Universally flattering. Unobtrusively elegant. And while all mirrors are not created equal, even in their most elaborate incarnation, they're still the heavy lifters of interior design, visually enlarging and illuminating any space. 

We’ve come a great distance from the polished stone that served as mirrors in Central America thousands of years ago or the copper mirrors of Mesopotamia before that. Today’s coveted glass Venetian mirrors, which should be cleaned with a solution of white vinegar and water, were likely produced in Italy beginning in the 1500s, while antique mirrors originating during the 19th century can add the rustic farmhouse feel to your mudroom that you didn’t know you needed.

By the early 20th century, experiments with various alloys allowed for mirrors to be made inexpensively. The geometric shapes and beveled edges that characterize mirrors crafted in the Art Deco style of the 1920s can bring pizzazz to your entryway, while an ornate LaBarge mirror made in the Hollywood Regency style makes a statement in any bedroom. Friedman Brothers is a particularly popular manufacturer known for decorative round and rectangular framed mirrors designed in the Rococo, Louis XVI and other styles, including dramatic wall mirrors framed in gold faux bamboo that bear the hallmarks of Asian design. 

Perhaps unsurprisingly, mid-century modernism continues to influence the design of contemporary mirrors. Today’s simple yet chic mantel mirror frames, for example, often neutral in color, owe to the understated mirror designs introduced in the postwar era.

Sculptor and furniture maker Paul Evans had been making collage-style cabinets since at least the late 1950s when he designed his Patchwork mirror — part of a series that yielded expressive works of combined brass, copper and pewter — for Directional Furniture during the mid-1960s. Several books celebrating Evans’s work were published beginning in the early 2000s, as his unconventional furniture has been enjoying a moment not unlike the resurgence that the Ultrafragola mirror is seeing. Designed by the Memphis Group’s Ettore Sottsass in 1970, the Ultrafragola mirror, in all its sensuous acrylic splendor, has become somewhat of a star thanks to much-lauded appearances in shelter magazines and on social media.

On 1stDibs, we have a broad selection of vintage and antique mirrors and tips on how to style your contemporary mirror too.