Modernity Furniture

Set of three Swedish Grace nesting tables, anonymous, Sweden, 1940s. Birch and root veneer. Signed. Small: H: 46 cm W: 42 cm D: 33 cm Medium: H: 51 cm W: 47.5 cm D: 33 cm Large...

Valet chair model 540 designed by Hans J. Wegner for Johannes Jansen, Denmark, 1953. Teak, oak and brass. Stamped. H: 94 cm W: 51 cm D: 50 cm SH: 44.5 cm Hans J. Wegn...

Chaise longue model PK24 designed by Poul Kjaerholm for E. Kold Christensen, Denmark, 1965 Stainless steel, cane and leather. Provenance: 20th Century Marks, Westerham Acquired fro...

Easy chair, anonymous, Denmark. 1970’s. Rosewood and wool upholstery. Dimensions: H: 65 cm/ 25 1/2" W: 86 cm/ 33 3/4" SH: 44 cm/ 17 1/4" D: 74 cm/ 29 1/4"

Occasional table, anonymous for Oy Stockmann AB, Finland. 1950s. Elm. The most compelling aspect of this occasional table is the relationship of its legs to the surface. With splay...

Dish, anonymous, Sweden. 1980s. Stoneware. Measurements: Height: 8 cm / 3 1/4" Diameter: 51 cm / 1' 8".    

Set of six dining chairs, Anonymous Sweden, 1990's Lacquered beech and black gallon leather. Measurements: H: 83 cm / 32 ¾’’ SH: 49 cm / 18 ¾’’ W: 40 cm / 15 ¾’’ D: 53 cm / 20 ½’’

Vase designed by Erik Höglund for Boda, Sweden. 1950's. Glass. Measurements: H: 27.5 cm/ 11 7/8'' Erik Höglund started working for Boda when the company and the entire Swedish gla...

Vase designed by Erik Höglund, Sweden. 1970's. Glass. Dimensions: H: 54 cm/ 21 1/4" D: 13.3 cm/ 5 1/8" Erik Höglund started working for Boda when the company and the entire Swedis...

Dressing table designed by Erik Höglund for Kopparfly, Sweden. 1960s. Oak and mirrored glass. Measurements: H: 130 cm / 4' 3'' W: 55 cm / 21 2/3'' D: 42 cm / 16 1/2''.

Pair of bedside tables, anonymous for DUX, Sweden. 1960s. Cane, rattan and teak. The colonial-style combination of cane, rattan, and teak makes this Scandinavian bedside table desi...

Occasional table, anonymous, Sweden. 1940s. Mahogany. Dimensions: H: 60.5 cm / 23 3/4" W: 60 cm / 23 1/2" D: 30 cm / 11 3/4"

Rag rug anonymous, Sweden. 1960's. Cotton with linen pile. Rag technique. Provenance: Halmstad castle. Dimensions: L: 378 cm/ 12' 5 1/4'' W: 170 cm/ 5' 7 1/4''  

Side/bedside table, anonymous, Denmark. 1960's. Wenge. Dimensions: H: 50 cm/ 19 3/4" L: 50 cm/ 19 3/4" D: 40 cm/ 15 3/4"

Table, anonymous, for Nordiska Kompaniet, Sweden. 1930's. Black lacquered wood with engraved pewter. Dimensions: H: 55 cm/ 1' 9 21/32'' W: 49.5 cm/ 1...

Rare armchair 'Small Paimio' model 42 designed by Alvar Aalto, Finland, 1932. Painted birch veneer and bent plywood. Stamped. H: 61.5 cm W: 60.5 cm D: 78 cm SH: 37 cm A...

Set of three nesting tables designed by Grete Jalk for Lange Production, Denmark, 1963. The design is by Grete Jalk from 1963, and this set is was produced as a limited edition by L...

Oak and teak. Measurements: L: 76.5 cm / 2’ 6” W: 102 cm / 3’ 4” H: 73 cm / 2’ 4 3/4" L with extension: 198 cm / 6’ 4”. Hans J. Wegner is the father of Danish design and is well ...

Sculpture “Amazon Pistil” by Eric Grate, Sweden, 1931. Stoneware. Unique. Provenance: From the collection of Swedish art historian and artist Ragnar von Holten. Measurements: H:...

Painting by Harry Booström, Sweden, 1954. Oil on panel. Signed: Booström Measurements: H: 69.2 cm/ 2' 3 1/2" W: 85 cm/ 2' 9 3/4" D: 8 cm/ 3" Provenance: William and Maud Appelqui...

Painting by Harry Booström, Sweden. 1953. Oil on panel Signed: Booström Measuremnets: H: 129.5 cm/ 4' 3 1/4" W: 96.5 cm/ 3' 2 1/2" D: 8 cm/ 3" Provenance: William and Maud Appelq...

Painting ‘No. II’ by Harry Booström, Sweden. 1953. Oil on panel. Measurements: H: 89 cm/ 2' 11" W: 119 cm/ 3' 10 7/8" Provenance: William and Maud Ap...

Painting Fra Coma til Egba by Kai Führer, Denmark, 1977. Oil on canvas. Unframed. Signed "Kai Führer" on reverse. Measurements: H: 120 cm/ 47" W: 120 cm/ 47".  

Dish designed by Carl-Harry Stålhane for Rörstrand, Sweden. 1960s. Stoneware. Signed. Measurements: H: 6 cm / 2 1/4" Diameter: 18.5 cm / 7 1/4". Carl-Harry Stålhane (1920-1990) was born in the town of Mariestad, in the west of Sweden. As a child, he dreamed of being a successful painter. He started working for Rorstrand in neighboring Lidkoping at the age of 18. Initially, he decorated ceramic wares as assistant for the leading artist Gunnar Nylund. Carl-Harry decorated Rorstrand’s exclusive Flambé range as well as producing idyllic floral designs. In the mid 1940s, Carl-Harry Stålhane began to develop his own stoneware. He had his first solo exhibition in 1948, impressing the public with an ability to work in most contemporary styles of stoneware. But after studying in Paris in the late 1940s, Carl-Harry found a style that was truly his own. Inspired by the hunger for new products to meet the post-war economic boom, he developed from being a gifted decorator to a first-rate ceramic artist. He was praised for his "column-like, slender-necked stoneware vases with their peach surfaces", as one magazine put it. Spurred on by a deep love of the ceramic wares of the Far East, Carl-Harry liberated himself from the European tradition of ceramics, finding inspiration in foreign cultures, in Picasso and in constructivist art. The 1950s brought major successes: a diploma and a gold medal at Milan Triennials as well as solo exhibitions in Sweden, the UK and the USA. Carl-Harry commenced his career as an industrial designer in 1954. His Blanca tableware — in elegant white porcelain — was much in demand and gained him international prizes. He designed almost everything from numerous table sets decorations to rustic ashtrays. Carl-Harry Stålhane’s production of unique ceramic works of art increased notably in the late 1950s. In 1960 he reached something of a peak with an exhibition at Galerie Blanche in Stockholm. The exhibition showed robustly dark wares that were hailed as the new ceramics...

Ceiling lamp designed by Carl-Harry Stålhane for Rörstrand, Sweden, 1954. Stoneware. Measurements: H: 52 cm/ 1'9" D: 20 cm/ 8". Carl-Harry Stålhane (1920-1990) was born in the to...

Vase designed by Carl-Harry Stålhane for Designhuset, Sweden, 1980s Stoneware. Signed. Dimensions: H: 37 cm/ 14 1/2'' Carl-Harry Stålhane (1920-1990) was born in the town of Mar...

Dish designed by Carl-Harry Stålhane for Designhuset, Sweden, 1983. Stoneware. Measuresments: D: 28.5 cm/ 11 1/4". Carl-Harry Stålhane (1920-1990) was born in the town of Mariest...

Monochrome painted wood. Measurements: H: 71 cm/ 2' 4 1/4" W: 44 cm/ 1' 5 5/8". Provenance: Bent Pedersen/Yvonne Hansen - North Art Magazine. Exh...

Set of ten dining chairs designed by Aino Aalto for Artek, Finland, 1950s. Birch and cane. Very rare model. Measurements: H: 74 cm/ 29" W: 58 cm/ 22 3/4" D: 42 cm/ 16 1/2" Prove...

Bedside table model 914 designed by Josef Frank for Svenskt Tenn, Sweden, 1950s. Mahogany veneer and brass handle. Josef Frank’s elegant bedside table model 914 with sophisticated brass handles is one of Svenskt Tenn’s timeless classics. It works very well combined with modern or antique pieces. The overall simplicity of form and use of luxurious wood are characteristic of Josef Frank. L: 65 cm W: 40 cm H: 55 cm Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best...

Brass. Table Lamp Model 2552 Designed by Josef Frank for Svenskt Tenn, Sweden, 1950s Measures: H 49.5 cm Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best...

Set of six chairs designed by Josef Frank for Svensk Tenn, Model 725. Sweden. 1938. Mahogany and original leather. Literature: Kristina Wängberg Eriksson, Jan Christer Eriksson, "Josef Frank Möbelformgivaren", Carlsson Bokförlag, Stockholm 2014, p. K 18 H: 90 cm W: 58 cm D: 63 cm SH: 43 cm Armrest height: 69 cm (at the highest point) Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best...

Occasional table designed by Josef Frank for Svenskt Tenn, Sweden. 1950s. Mahogany. H: 45 cm L: 80 cm D: 40 cm Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best...

Painting 'Mural II' by Harry Booström, Sweden, 1953. Oil on canvas. Dimensions: H: 90 cm / 3' W: 122 cm / 4' 1/2'' Shown with Harry Booström at the Artists of Söder Exhibition, 19...

Table lamp model 2468 designed by Josef Frank for Svenskt Tenn, Sweden, 1950s. Brass with cotton shades. Stamped. Model 2468 is a delightful brass table lamp with three small shades in green, yellow, and red. The lamp has an elegant brass base with three stems that hold the shades at different heights. Because of its tricolour shades, it is known as the “traffic light lamp”. Designed by Josef Frank in the 1950s, this lamp has become a timeless Svenskt Tenn collectable. H: 54 cm W: 42 cm Shade D: 15 cm Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best sellers long after Frank was forced to hand the company over in 1938 after the Third Reich annexation of Austria. When Josef and Anna had moved to Sweden Frank had struck up a working relationship with Design shop owner Estrid Ericson. Ericson was the proprietor of Svenskt Tenn that at this point was a successful interiors shop in Stockholm with the royal warrant of appointment to the Swedish Royal Household. In 1935 Frank had become the chief designer for Svenskt Tenn and had set about putting all of his creative effort into his designs for the company. At the World Expositions in Paris in 1937 and New York in 1939 the world saw for the first time the wealth of products that Frank had been working on, ranging from candlesticks to cabinets, there was not a domestic object that Frank had not subjected to his colourful, comfortable and organic style of Modernism. Frank’s new school of Modernism championed ideas such as chairs having a freeing, open back and that “If one desires the room to be comfortable…all pieces of furniture should allow for a free view of the separating line between the floor and the wall. A cabinet without legs breaks this line and thus reduces the feeling of space.” A world-wide audience tired of classic Modernism’s furniture with solid planes and aggressive forms leapt upon these ideas and Franks natural and bright designs for Svenskt Tenn became internationally desired. Frank created over 2000 designs for Svenskt Tenn and his products continue to be the core of their brand. Frank’s rejections of tubular metal and heavy lacquers within his furniture have insured his unique light form of Modernism continues to influence and flourish today. His natural toned mahogany and walnut pieces along with his tactile leather covered and brightly shaded lighting still bring the forms of nature back into the home. Original Frank pieces are now increasingly rare, highly desirable and are the epitome of “Scandinavian Design”. Renowned Designer and Academic Isle Crawford...

Three mounted scrolls by Rune Hagberg, Sweden, 1970s. Paper scrolls mounted on a board in a plexiglass box. Unique. Signed. H: 76 cm W: 81 cm D: 12 cm Rune Fredrik Hagberg was a renowned Swedish artist that took much of his inspiration from Zen Buddhism spirituality and Eastern Calligraphy. He is represented at, among many others, the Modern Museum and the Norrko¨ping Art Museum. Hagberg’s meditative informalism is placed between the concretism and expressionism of the 1950s, his art becoming simpler until he reduced it so far that only tightly closed picture reels...

Pair of candlesticks designed for Svenskt Tenn, Sweden, 1950s. Brass. Stamped. H: 40 cm Diameter: 9 cm.

Table lamp model 2466 designed by Josef Frank for Svenskt Tenn, Sweden, 1950s. Brass with fabric shade. Stamped. An understated and tim...

Armchair model 4488 designed by Kaare Klint for Rud. Rasmussen, Denmark, 1930s. Mahogany, ebony, cane, and black horsehair upholstery with cognac leather piping. Klint thought...

Painting by Sven Hansson, Sweden. 1979. Painted wood relief on board. Dimensions: H: 42 cm/ 16 1/2" W: 51 cm/ 20'' Provenance: the estate of the artist. Working in a purely geome...

Oil on board. Dated and signed. Measurements: H: 71 cm/ 2' 4 1/2'' W: 120 cm/ 3' 11 3/4''. Working in a purely geometric, non-figurative style, Sven Hansson was a Swedish painter...

Painting by Sven Hansson, Sweden, 1982. Oil on canvas. Signed and dated "Sven Hansson 1982". Dimensions: H: 95 cm/ 3' 1 3/8" W: 130 cm/ 4' 3 1/8" Provenance: The collection of t...

Painting by Sven Hansson, Sweden, 1985. Oil on canvas. Provenance: from the collection of the artist's family. Signed and dated: "S. Hansson K. 1985" Dimensions: H: 89.5 cm/ 2' ...

Painting by Sven Hansson, Sweden. Oil on canvas. Dimensions: H: 120 cm/ 3' 12" W: 90 cm/ 2' 12 1/4" Provenance: the estate of the artist. Working in a purely geometric, non-fig...

Bedside table designed by Helge Brandt, Denmark, 1963. Rosewood and leather. Dimensions: H: 55 cm/ 21 2/3" W: 58 cm/ 22 7/8" D: 38 cm/ 14 15/1...

Vase designed by Tapio Wirkkala, Sweden, 1957. Sterling silver. Dimensions: H: 24 cm/ 9 3/8" W: 9 cm/ 3 1/2" D: 4 cm/ 1 1/2" Tapio Wirkkala (1915-1985) can be described as one of the icons of Finnish design and a symbol of the international success of post-war Finnish design. Tapio Wirkkala studied sculpture at the Helsinki Central School of Industrial Design from 1933 until 1936, but he was also a self-studied artist in many areas, including glass design. His success as a glass artist began in 1946 when he designed one of his most famous works, the Kantarelli vase, for Iittala. Wirkkala gained worldwide success in 1951 at the Milan Triennial, where he received three Grand Prix awards: for the exhibition architecture, glass design and wooden sculptures. Tapio Wirkkala felt a deep relationship with nature and his absolute favourite spot was located in Finland's deepest forests. From the beautiful landscape, Tapio Wirkkala could find inspiration for his works, often characterised by organic shapes. Leaves, birds, ice and water are recurring themes in his design. Tapio Wirkkala was also a furniture designer and a sculptor. He started his career as a sculptor in the 1930s but abandoned the traditional sculpture in the post-war years – in the early 1950s, alongside with other works, he started to develop an entirely new relationship with sculpture and a new technique to be used. The result was a series of unique plywood sculptures which combined form and movement in the vibrant, densely lineated surface of plywood. Wirkkala’s sculptures represented exceptional abstractism and gave Finnish sculpture...

Set of serving cutlery designed by Tapio Wirkkala, Finland, 1950s. A set of serving spoons and olive forks. Measures: Forks: L 26 cm/ 10 1/8" Spoons...

Dish designed by Tapio Wirkkala, Finland, 1950s. Laminated birch. Signed. Dimensions: W: 19.4 cm/ 7 2/3" L: 36.7 cm/ 14 1/2" Tapio Wirkkala (1915-1985) can be described as one of the icons of Finnish design and a symbol of the international success of post-war Finnish design. Tapio Wirkkala studied sculpture at the Helsinki Central School of Industrial Design from 1933 until 1936, but he was also a self-studied artist in many areas, including glass design. His success as a glass artist began in 1946 when he designed one of his most famous works, the Kantarelli vase, for Iittala. Wirkkala gained worldwide success in 1951 at the Milan Triennial, where he received three Grand Prix awards: for the exhibition architecture, glass design and wooden sculptures. Tapio Wirkkala felt a deep relationship with nature and his absolute favourite spot was located in Finland's deepest forests. From the beautiful landscape, Tapio Wirkkala could find inspiration for his works, often characterised by organic shapes. Leaves, birds, ice and water are recurring themes in his design. Tapio Wirkkala was also a furniture designer and a sculptor. He started his career as a sculptor in the 1930s but abandoned the traditional sculpture in the post-war years – in the early 1950s, alongside with other works, he started to develop an entirely new relationship with sculpture and a new technique to be used. The result was a series of unique plywood sculptures which combined form and movement in the vibrant, densely lineated surface of plywood. Wirkkala’s sculptures represented exceptional abstractism and gave Finnish sculpture...

Sweden, 1960’s Leather stand, canvas lamp shade. Marked “Bergbom G 08” Measurements: W: 45 cm / 17 ¾’’ L: 146 cm / 4' 9". Bergboms—also known as Bergb...

Library table designed by Uno Åhrén for Svenskt Tenn, Sweden, 1930. Elm. Early maker's mark underneath the surface. H: 75 cm L: 180 cm W: 70 cm.

Armchair ‘The Red Chair’ Model 3758A designed by Kaare Klint for Rud. Rasmussen, Denmark, 1930s. Mahogany, leather upholstery, and brass. This example was produced after 1930. The design detailing of this magnificent chair...

Cabinet with tambour doors designed by a Danish Cabinetmaker, Denmark, 1950s. Walnut and brass. H: 140 cm W: 100 cm D: 44 cm

Sideboard, anonymous, for Heltborg Möbler, Denmark, 1960s. Rosewood. H: 87 cm L: 203 cm W: 50 cm

Vase designed by Per B. Sundberg for Orrefors, Sweden. 1990's. Glass. Dimensions: H: 28 cm/ 11'' Per B. Sundberg grew up in Huddinge, south of Stockholm, where he early showed interest in creative expression, including in textile. Sundberg applied and was accepted to the pottery division at Capellagården in Vickleby 1983-85. In the years 1985-1992 he studied glass and ceramics at Konstfack in Stockholm, with a break in 1988 to study at the Pilchuck Glass School in Seattle. Per B Sundberg altered the course of Swedish design in the 1990s with the advent of new techniques and the creation of experimental...

Vase designed by Per B. Sundberg for Orrefors, Sweden. 2003. Glass. Dimensions: H: 27 cm/ 10 2/3" D: 18 cm/ 7" Unique. Signed Orrefors 9454-87 Per B Sundberg. Per B. Sundberg grew up in Huddinge, south of Stockholm, where he early showed interest in creative expression, including in textile. Sundberg applied and was accepted to the pottery division at Capellagården in Vickleby 1983-85. In the years 1985-1992 he studied glass and ceramics at Konstfack in Stockholm, with a break in 1988 to study at the Pilchuck Glass School in Seattle. Per B Sundberg altered the course of Swedish design in the 1990s with the advent of new techniques and the creation of experimental ceramics...

Vase designed by Per B. Sundberg for Orrefors, Sweden. 2004. Glass. Dimensions: H: 22 cm/ 8 2/3" D: 20 cm/ 7 7/8" Unique. Signed Orrefors 9450-87 Per B Sundberg. Per B. Sundberg grew up in Huddinge, south of Stockholm, where he early showed interest in creative expression, including in textile. Sundberg applied and was accepted to the pottery division at Capellagården in Vickleby 1983-85. In the years 1985-1992 he studied glass and ceramics at Konstfack in Stockholm, with a break in 1988 to study at the Pilchuck Glass School in Seattle. Per B Sundberg altered the course of Swedish design in the 1990s with the advent of new techniques and the creation of experimental ceramics...

Vase Fabula and Ariel designed by Per B. Sundberg for Orrefors, Sweden. 2004. Glass. Dimensions: H: 20 cm/ 7 7/8" D: 17 cm/ 6 2/3" Unique. Signed Orrefors 9663-87 Per B Sundberg. Per B. Sundberg grew up in Huddinge, south of Stockholm, where he early showed interest in creative expression, including in textile. Sundberg applied and was accepted to the pottery division at Capellagården in Vickleby 1983-85. In the years 1985-1992 he studied glass and ceramics at Konstfack in Stockholm, with a break in 1988 to study at the Pilchuck Glass School in Seattle. Per B Sundberg altered the course of Swedish design in the 1990s with the advent of new techniques and the creation of experimental ceramics...

Vase ‘Fish Graal’ designed by Edward Hald for Orrefors, Sweden, 1949. Glass. Signed. Dimensions: Height: 16 cm / 6 1/4'' Diameter: 12 cm / 4 3/4''. Edw...

Pair of sculptures by Per Hammarström, Sweden, 1980’s / 1990’s. Stoneware. Signed "Per.H" Large H: 18 cm / 7" W: 11 cm / 4 1/4" Small H: 12.5 cm / 4 3/4" W: 7.7 cm / 3" Per Hamm...

Bowl by Per Hammarström, Sweden, 1980s / 1990s. Stoneware. Signed “Per.H” Measurements: H: 17.9 cm / 7" W: 25.3 cm / 10". Per Hammarström is one of Sweden’s most highly regarded ceramicists. Per’s work doesn’t conform to the Swedish style of simplicity; instead he loves colour and texture, and exploring the multi-faceted function of ceramics. Per began his training at the Gustavsbergs Porcelain Studio in 1978, which is sadly no longer in existence. In 1984 he opened his own studio in Strängnäs, and has worked in this manner ever since. Per’s work is characterised by organic forms and his own distinctive glazes, often in bright colours and strong contrasts. His work is unique, each piece starting out as a roughly thrown form, which is worked and transformed into bowls that are characterised by their delicacy and translucency. The organic form is embodied in the textured ceramics of Per. His works are either made from stoneware or porcelain. The inspiration of much of his work is the sea, but he also draws from flora and fauna; and the changing of the seasons. The undulating colours of the sea, sky and land manifest themselves in his delicately crafted and vividly coloured ceramics. Through elaborate dining-ware and ceramic ornaments...