H. Gallery Armchairs

Mid-century modern is to-the-point and no-nonsense, much like the straightforward interior style, which championed notions of functionality, ease and modern simplicity. This armchair...

This armchair by Arno Lambrecht is characterized by clean lines, organic shapes, and a focus on simplicity and functionality. Its elegant yet sturdy frame is constructed from solid b...

In the unique design style, “Amsterdamse School”, was an influential Dutch architectural and design movement that emerged in the early 20th century, and left an indelible mark on the cultural landscape of...

"There is no style like art deco that embraces both the figurative and the abstract, the feminine and the masculine, the monumenta, the stringent and the opulent, the functional and ...

This beautiful 'Worpsweder' armchair was designed in the 1920s by German artist, Willi Ohler and was manufactured by Erich Schultz in Germany. The so-called “Worpsweder” either deno...

In the bustling design landscape of 1960s Italy, this pair of elegant yet striking armchairs embody the aesthetic innovation that defined the era. Crafted in the 1960s, these chairs ...

Italian Modern furniture is defined by unique design, perfect execution, and exclusivity. This pair of armchairs is attributed to Italian design icon, Paolo Buffa. Coinciding with contemporary debates about the role of design and its responsibility to the larger population, Buffa reworked the presiding neoclassical idiom. The architect incorporated simplified forms into his designs in order to streamline production techniques, whilst always retaining a high regard for materials and harmonious portions. This pair of armchairs is said to have been designed by Buffa during the 1950s and elegantly balances comfort and functionality with high-quality craftsmanship and materials: the refined, articulated lines of the armchairs’ frames counter the volume of its cushions and uniquely patterned upholstery. By the mid-1930s, Buffa had established his own studio, where the Milanese architect designed expertly crafted furniture featuring intricate details and combined luxurious materials for an elite clientele. Buffa developed close relationships with cabinetmaking workshops in Brianza, renowned for their traditional furniture manufacturing, and during the following decades collaborated with some of the period’s most skilled artisans. These relationships enabled Buffa to introduce a modern vocabulary into his work whilst adhering to Milan’s heritage of artisan furniture production, in order to realize inventive furniture designs that revealed a skilful union of design and execution. These chairs embody this patently, with their most intricate feature being the upholstery covering the elegant, stylish shape of the solid wood frames. The elaborate pattern invites the eyes to spend time observing and exploring it, therefore the overall impression is interesting and stylish, while it also makes these chairs a one-of-a-kind pair. The exposed architectural, tapered legs supporting the comfortable seats and curved backs complement the design of this model greatly. The slim look serves as a counterweight to the voluptuous bodies, and the colour of the wood complements the pattern as well. The overall design is focused on elegant and measured proportions, balanced compositions, and refined décor elements including the exclusive materials. Besides the upholstery, the versatile shapes, from the curving, rounded edges on the top to the characteristic armrests and tapered legs, make these chairs stand out. Buffa’s designs were featured in important publications, such as Roberto Aloi’s L’arredamento moderno series, through which a coherent evolution can be traced in Buffa’s work as he interpreted the formal elegance of Italian design with a subtle yet recognizably modern rigour evidenced by this pair. Paolo Buffa was especially passionate about furniture and product design, an area where he remained faithful to a figurative repertoire of substantial classicism, while not disdaining impulses of authentic modernity. He was extremely active in the Milanese design scene that was just as vibrant and unique as these armchairs. In an atmosphere committed to the reinterpretation of the Lombard classicism and Milanese architecture, exceptional pieces were created, as this pair shows. Condition: In good vintage condition. Wear consistent with age and use. Small scratches and marks on the wood. The chairs have been reupholstered recently in a premium patterned 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: 29.52 in W x 34.44 in D x 37 in H; Seat height 15.15 in; Arm height 22.44 in 75 cm W x 87.5 cm D x 94 cm H; Seat height 38.5 cm; Arm height 57 cm Literature: 'Alcuni Mobili di Paolo Buffa', Domus, no. 178, October 1942, p. 431 for a similar example Roberto Aloi, L’Arredamento Moderno, quarta serie, Milan, 1949, fig. 366 for a similar example Roberto Rizzi, I mobile di Paolo Buffa, exh. cat., Mostra Internazionale dell'Arredamento, Cantù, 2002, pp. 30, 34-35 for a drawing and images of a similar example About the (attributed) designer: Paolo Buffa (born 1903, Milan – died 1970, Milan) was an Italian furniture designer who defined his own unique design aesthetic to become one of the most sought-after Italian designers of his day. Renowned for pairing elements from both the opulent Neoclassical and the streamlined Art Deco styles around a more modern sensitivity, Buffa excelled in creating high quality pieces that spoke to the well-to-do clientele of the time. Born in Milan in 1903, Buffa trained at the Politecnico di Milano. Following his graduation in 1927, he worked briefly for Gio Ponti, and in 1928, he partnered with architect Antonio Cassi to establish their own design studio in Milan. By 1936, Paolo Buffa opened his own independent studio where he became particularly successful, in part because he had already tapped into his unique combination of stylistic elements. His incorporation of more traditionally Neoclassical motifs or materials – for example, rich rosewoods or supple, velveteen fabrics – with the relatively avant-garde forms and themes of a lighter Art...

Scandinavian Modernism can be visually described by this beautiful armchair: sleek, organic and timeless. These attributes are met with high quality materials and the famous craftsma...

This elegant armchair by Dutch designer, Bas Van Pelt is a classically luxe model with a level of craftsmanship that’s immediately visible to any eye. The construction of this rare 1940s design is simple at its core, but thanks to the details, it is a unique representation of early Dutch modernism. While Bas Van Pelt's creative work was primarily influenced by the 1920s straight lines dominated by The Hague School, this armchair is the result of his more mature design era, which was primarily dominated by natural materials and more curvature. While made of solid wood, this armchair has an open feel to it thanks to the airy arrangement of the arms and legs. The curved lines of the armrests are beautifully crafted and follow the raised seat’s angle. The curves nicely contrast with the straight lines of the frame, keeping it from appearing too strict. Apart from the expert woodwork, the upholstered seat and back stand out as well. The light bouclé fabric is tightly fitted around the frame, and the seat’s thick shape is an especially pleasing element that offers plenty of comfort both figuratively and literally. The overreaching backs further enhance the back’s widening shape and thus allow the individual loops of the yarn to stand out. The block legs blend seamlessly into the back and form a gentle angle. Thanks to the well-chosen proportions and the luxurious upholstery, this armchair provides great comfort. This model can be easily used as an accent chair thanks to its characteristic details, but can also complement a wide variety of interior styles with it refined and elegant style. Bas van Pelt’s progressive designs were, in many ways, ahead of his era. The Dordrecht-born designer’s furniture models are quite rare, a few are preserved in the Stedelijk Museum Amsterdam for modern art, contemporary art, and design. 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: 24.6 in W x 24.4 in D x 37 in H; Seat height 15.35 in; Arm height 23.22 in 62.5 cm W x 62 cm D x 94 cm H; Seat height 39 cm; Arm height 59 cm About the Designer: Bas Van Pelt (1900 Dordrecht (NL) - 1945 Sandbostel (DE) was a well-known Dutch interior and furniture designer, known for the clarity and quality of his designs. His works created in the 1930s and 1940s are regarded for their progressive design and quality. While he is most well-known for his chair designs, van Pelt was also active as an interior designer. He also designed fabrics for window coverings...

In the realm of mid-century furniture, there exist turned furniture with a historical charm that exudes timeless elegance and craftsmanship, harkening back to the design sensibilitie...

Born into a family of furniture makers, Melchiorre Bega represented a leading figure in the Italian architectural and design revolution during the interwar era. His vocabulary, repre...

This elegant pair of winged back chairs is a great representation of the quality and craftsmanship of European master cabinetmakers of the 20th century and the immediately recognizab...

Svensk design, “Swedish design”, is unquestionably a conventional and popular branding device, with many companies explicitly promoting their products as examples of god design, “goo...

With an elegantly cosy appearance, this chair is a stylish example of the soft, curved aesthetic side of mid-century modernism in Europe. Adopting the trend of abandoning ornamentati...

This beautiful European cabinetmaker armchair recalls the peak of Mid-Century Modern design on the continent. Cabinetmakers led the way in furniture design during the 1950s, combinin...

Time has not diminished the relevance of Danish design, especially of the pieces that were created in the middle of the last century, like this lounge chair. This mainly because the ...

This armchair is an elegant and comfortable evidence of the mastery and artistry of the Danish master cabinetmakers who defined mid-20th century modern seating design. Danish Modern ...

This chair is in many ways the definition of a unique piece both in visual terms and from a historic aspect. It hasn’t a single aspect that is usual, making it a fascinating and hist...

Like the “Laila” model, these chairs were designed by Finnish designer, Ilmari Lappalainen for Asko in 1948, and become a beloved model. So much so, that during the 1990s, it was put back into production by Asko. With Ilmari Tapiovaara, who was the artistic director of Asko from 1938 to 1941, the modernization of the company’s range began, and the wooden designs were joined by modern, upholstered furniture pieces, including “Rex”. Lappalainen was a renowned designer, famous for his designs’ comfort. Some of his designs even received medical approval because they had such a good seating that it prevented back problems. These armchairs have a cosy modern style, modelled on the Swedish and Danish furniture of the time, including the round edges, the generous back with tufted buttons, and the tapered, wooden legs. The body has the classic Nordic look, which explains its contemporary popularity both among the public and institutions. The cosy open design is dominated by the gently enveloping back and arms that appear to welcome the sitter. Thanks to the large seat cushion, the armchairs’ comfort lives up to Lappalainen’s famous standards. The modern aesthetic is further elevated by the textured, premium upholstery that complements the shape and the small lacquered legs as well. Wood is omnipresent in the Nordics, and Finnish woodworking is world-famous for its traditions. These chairs were created for Asko, the Finnish furniture manufacturing company founded in 1918 by Aukusti Asko Avonius, known for the production of high-quality furniture. By 1930 the company had developed into the largest furniture chain in Finland and the largest supplier of furniture in the Scandinavian countries. Favourites of this time included Ilmari Lappalainen’s “Laila...

The so-called “cocktail chair” is a smaller type of upholstered chair with an elegant shape, that looks especially stylish as a feature chair in any room, or next to a mid-century so...

In the mid-1950s, Carl Malmsten awarded ten small furniture companies, mainly in Småland, the honour of making a series of some of his products. Among the first pieces was “Farmor”, which soon became the most popular armchair model. In 1956, Carl Malmsten was on one of his regular visits to Sjögren's Upholstery Workshop in Tranås to develop new models for his furniture program. That was when this “Grandma” chair...

Bejra Möbel was a Swedish manufacture operating in the first half of the 20th century in the Swedish town of Tibro, a well-known centre of the furniture industry in Sweden. Furniture...

The seating designs of the architect and designer, s, have been gradually more and more recognized world-wide, which resulted in the recent exhibition titled “Forgotten Ornäs”. His d...

Strongly influenced by the functional forms of the Bauhaus school, Danish designers led the way in furniture design during the 1950s. They combined the inspiration brought by new ind...

The stylish midcentury curves that define Carl Malmsten’s aesthetic are just as recognizable today as they were 70 years ago. The Swedish designer devoted his life to the renewal of ...

In Europe, Mid-Century Modern design is a remarkable combination of concern for comfort and materiality melded with a desire for Shaker-like clarity. As these chairs show, the aesthe...

The “Little Adam” chair model is from the timeless and iconic Paradise Collection from the Triva Series, which was created in 1958 by Kerstin Hörlin-...

The Mid-Century Modern era is notable for its blending of Classic modern design elements with a slightly more updated feel. This beautiful pair of Italia lounge chairs has a Classic, comfortable style that is a prime example of the best qualities of what is referred to as Modernism in European design. Several key factors define the Italian approach to design: respect for craftsmanship, quality materials and finally, an elegant, high-end look. Upholstered cabinetmaker chairs may seem similar at first sight; however, each model’s individuality becomes evident upon closer inspection. In these chairs’ case, their thick, welcoming shape and the sleek, tapered wooden feet Stand out immediately. The design has achieved a perfect balance between form and function, in which aesthetics and utility come together in a purely Mid-Century Modern manner. The fully upholstered wooden frames rest on dark lacquered wood legs. The feet are splayed to support stability, while their stylish dark colour contrast to the elegant, light upholstery. The backs are relatively low, enhancing the stylish look along with the thick arms, backs, and seat cushions. Together these design elements create a modern look with the beloved organic, curvy aesthetic. The exceptionally soft, textured fabric highlights the bodies’ rounded edges and sheer volume. Italy was especially passionate about furniture and product design during the mid-century, an area where the country remained faithful to a figurative repertoire of substantial classicism, while not disdaining impulses of authentic modernity. As a result, Italian modern furniture...

Axel Larsson was an incredibly productive Swedish furniture architect and designer with a more than 50-year long career. This armchair is a rarity, despite Larsson being most well-known for his furniture series designed for and mass-produced by SMF Bodafors. This particular chair takes inspiration from the uplifting, pared-down aesthetic of Scandinavian design. The design consists of a smooth sculptural frame crafted in curved and stained wood that frames a finely tailored seat and back. The streamlined design of the wood structure immediately stands out for its pronounced lines and airy construction. It shows off the architectural precision put into both the design and into the execution. The curve of the arms and legs - formed of a single piece of wood - defines the look and is perfectly balanced by the straight stretchers connecting the legs. The other defining feature is the obtuse angle created by the reclined position of the back and the raised seat. This angle is also followed by the frame and as a result the aesthetic is dynamic but still exudes the functional cosiness of Swedish design. There is a clear emphasis on comfort, from the tilted back to the sculpted, wide armrests and the seat cushion. The light upholstery complements that dark stained wood by creating an apparent contrast both in colour and texture. Axel Larsson also designed furniture for individual carpenters in Stockholm; these were made in small numbers, and this armchair may be one of these rare designs. Swedish Modern style is delicately scaled, using tapering legs and clever but simple solutions as seen on this chair as well. Subtitled “A Movement Towards Sanity in Design”, it also describes quality and the ability to lend grace to the daily chores of life. Condition: In 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: 25.59 in W x 30.31 in D x 30.9 in H; Seat height 21.65 in; Arm height 25.19 in 65 cm W x 77 cm D x 78.5 cm H; Seat height 55 cm; Arm height 64 cm About the Designer: Axel Larsson was born in 1898 in Torp socken, Sweden. Larsson was a professional for more than 50 years and belonged to a handful of furniture and interior designers who played a major role and influenced the development of their professional sphere. He grew up in Medelpad, and as a young carpenter's apprentice, he was given the opportunity to study further in Stockholm as a furniture designer through a scholarship from 1916 to 1920. In parallel with his studies at the Higher School of Art and Design, he was a furniture designer under Carl Malmsten during his work with furniture for Stockholm City Hall...

Perhaps the most significant achievement of mid-century European designers and cabinetmakers, at the height of mid-twentieth century modernist design, was their ability to humanize w...

In December 2016, the term "hygge" was so popular that the New York Times ran an explainer on the concept. This ideal of comfortable conviviality can be expressed in many ways, inclu...

This armchair has a charmingly peculiar look that makes it a perfect accent chair. It is familiar and cosy, yet also unique in its appearance thanks to the creative overflow that cha...

There is a certain “Malmstenesque” charm to the Swedish designer’s pieces that manifests in the gentle but defined curves, cosy appearance and in the modern way Carl Malmsten skilfully carried the heritage of traditional allmoge (folk art) design. The expression “Swedish Modern” was first used at the 1939 New York World Fair, when the designer introduced the model “Oskar”. Similarly to that model, Malmsten remained a traditionalist, mainly concerned with comfort regarding the “Stora Furulid...

Less famous than their Western European contemporaries, Czechoslovakian prolific creators were no less talented. They were asked not to design artistically but to create furniture fo...

Svensk design, “Swedish design”, is unquestionably a conventional and popular branding device, with many companies explicitly promoting their products as examples of god design, or “...

Carl Malmsten devoted his life to the renewal of traditional Swedish craftsmanship, inspired by Swedish country manors and rustic styles. In this spirit, his armchairs are regarded t...

In the mid-1950s, Carl Malmsten awarded ten small furniture companies, mainly in Småland, the honour of making a series of some of his products. Among the first pieces was Farmor, wh...

The modernist movement in Europe found its beginnings in the roots of the Bauhaus and Functionalist movements. Bauhaus design emphasized clean, pure lines, while Functionalism sought...

Like this pair of sculptural armchairs, European cabinetmakers’ seating creations are generally characterized by clarity in design and extremely high quality craftsmanship and choice...

This characteristic “Zeca” armchair was designed by the pioneering Brazilian designer, Jose Zanine Caldas. Made of solid wood, this armchair was named af...

This “Model 215” easy chair was designed by Danish designer and architect Kurt Olsen, and unifies some of the best characteristics of mid-century Danish design and craftsmanship. ...

This is a beautiful Peter Hvidt & Orla Mølgaard-Nielsen designed model “FD 144” easy chair, made in Denmark in 1953. It was produced by France & Daverkosen Denmark. This solid oak FD-144 Easy Chair by the designer duo, has distinctive, wide and imposing bent armrests. The darker teak wood on the armrests and legs emphasises the elegant lines of this chair. The back is supported with a series of slender spindles that stand out as the main design element of this model. The chair comes with two loose cushions that have been recently reupholstered in a premium bouclé fabric. Both cushions feature button tufting, giving a classic look. This chair is a Danish mid-century piece to its core, uniting functionality with and understated, yet interesting and elegant design. Condition: In good vintage condition. Wear consistent with age and use. Re-upholstered in 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: 25.4 in W x 28.55 in D x 33.08 in H; seat height 16.93 in 64.5 cm W x 72.5 cm D x 84 cm H; seat height 43 cm About the designer: Hvidt & Mølgaard were the founders of the Copenhagen-based, Danish design and architectural firm which existed from 1944 until 2009. Founded by Peter Hvidt (1916-1986) and Orla Mølgaard-Nielsen (1907-1993), the company was a pioneering force in Danish furniture design and industrialized production in the 1950s, creating furniture that was easy to mass-produce and economic to transport. Danish architect-designer Orla Mølgaard-Nielsen was born in 1907. His formative years were spent in Copenhagen, studying at the Aalborg Technical School and at the Art and Crafts School of the Design Museum. From 1931 until 1934, he continued his studies in furniture design at the Royal Danish Academy of Fine Arts under the instruction of Kaare Klint. Peter Hvidt was born in Copenhagen in 1916. He studied architecture and cabinetry at the School of Arts and Crafts in Copenhagen. Subsequently, he worked at various design firms before establishing his own studio in 1942. In 1944, Hvidt designed the Portex Chair...

‘Danish master cabinetmaker’ or “snedkermester” has become a commonly used term for Danish furniture makers, even though the expression is quite exclusive and only applies to certain craftsmen. Frits Henningsen is justly one of the most renowned master cabinetmakers, with this pair of easy chairs illustrating why. The typical elements of Danish modern furniture, the straight lines, the clear design, had developed with time, starting on the long path from the historical style that was still predominant in the 1920s. Architect and furniture maker, Frits Henningsen had a significant role in paving this path. As an active member of the Cabinetmakers Guild from 1927, he was admired by his peers for the high quality of his craftsmanship. The shape of this chair model shows Henningsen’s opposition to the younger designers in the 1940s who preferred strictly straight lines. Henningsen on the other hand, believed furniture design needed to maintain curvature which contributed to a homely look. These easy chairs were designed in this period and feature the uncompromising designer’s personal...

The mid-century movement was the organic offspring of modernism. It was rooted in notions of functionality, elegance and simplicity as championed by the likes of the Bauhaus and Le C...

Although the designs of the mid-century era were wide-ranging in style, they often shared such characteristics as clean lines, organic shapes, and functionality. These elaborate armc...

This exceptional chair has a peculiar design with numerous qualities that distinguish it from its contemporaries, even from mid-century chair designs in general. From the shell seat ...

These “Pedro” armchairs show the homely curviness that defined the design of the 1950s. Hiort af Ornäs developed this model for his own furniture company, Puunveisto Oy. The Pedro m...

This beautiful armchair features a modest and elegant design. From the stunning and decorative slat back to the expert woodworking, this armchair has the best qualities of mid-centur...

Through a myriad of changes in styles and preferences, the various iterations of what has come to be called Danish Modern have managed to go on “speaking” to consumers, collectors, a...

The Colonial chair is one of Danish designer, Ole Wanscher’s key designs, drawing influence from British and French colonial furniture from t...

Italian Modern furniture is defined by unique design, perfect execution, and exclusivity. Modernist Italian designers’ language was always coh...

Simplicity, functionality, and elegance - these are the basic aspects of Danish design and accordingly, of this sophisticated wing-back chair. This unique model is a great representa...

These “Pedro” armchairs show the homely curviness that defined the design of the 1950s. Hiort af Ornäs developed this model for his own furniture company, Puunveisto Oy. The Pedro m...

The design of this remarkable chair sis based on a long tradition of safari chairs. From Eileen Gray to Kaare Klint and Elias Svedberg, a lot of great designers have made versions of...

Danish Modern focused more on the aesthetics of modern design whilst employing the exquisite technique and material familiarity of highly skilled craftsmen known as cabinetmakers. Alfred Christensen’s present armchair in this style is a rare and exquisite example of this. Clean and pure lines define this armchair that are coupled with expert craftsmanship and delicate research into proportions, materials and the requirements of the human body, adapting design to modern-day needs. Adopting the trend of abandoning ornamentation to benefit the form, Christensen maintained the beauty and warmth inherent to traditional Danish cabinetmaking. In consequence, this armchair has a beautiful, warm look with rounded edges and an open look. The only ornamentation is the piping cord that runs along the edges of the body. The unique colour of the velour upholstery in combination with the dark, stained beech legs create warm elegance, perfect to bring a modern touch to any space. While Danish designers, including Alfred Christensen, had many principles, above all, all designers...

These “Pedro” armchairs show the homely curviness that defined the design of the 1950s. Hiort af Ornäs developed the model for his own furniture company, Puunveisto Oy. The Pedro mo...

Like the “Laila” model, this chair was designed by Finnish designer, Ilmari Lappalainen for Asko in 1948, and become a beloved model. So much so, tha...

In the mid-1950s, Carl Malmsten awarded ten small furniture companies, mainly in Småland, the honour of making a series of some of his products. Among the first pieces was Farmor, wh...

Most of the stunning minimalist designs from the turn of the century to the 1960s, termed "mid-century", captured the imagination of the world, especially Danish architect-designers’...

In 1944, Niels Otto Møller founded J.L. Møllers Møbelfabrik in Denmark, a company that has received many awards, including the Danish Furniture Prize in 1974 and 1981. Møller is an important representative of Danish postwar design and had always been committed to excellence and the use of the finest materials. Clean, simple designs and the quality of materials and workmanship are why Nordic design is timeless. This “model 67” chair...