Scandinavian Modern Decorative Objects

Exceptional unidentified Swedish ceramic vase with pertruding dots and delicate ocra yellow haresfur glaze. Very similar to pieces by Gunnar Nylund, Carl H. Stahlhane, Nils Thorsson ...

Scandinavian Modern 13 glass pieces by the Swedish Enfant Terrible Erik Höglund for Boda. Between 7-14 cm diameter. These pieces can be displayed as sculptures in a window or used as...

A set of 3 ice-glass chimney/cylindrical candleholder for bock, tea lights and ball lights. Unknown Scandinavian maker/designer circa 1980 in the style of Littala Finland. Wellkepot ...

A unique sculpture by Bengt Berglund at Gustavsbergs Studio, Sweden designed the late 20th century. The sculpture is 42 cm (16.8") high and 9 x 13 cm (3.6" x 5.2") wide and in excell...

"People" decanter designed by Erik Höglund. Produced by Boda during the 1950s. Made from hand blown clear glass. Good vintage condition with age related wear and patina. Designer...

Two stoneware plates depicting the Swedish castle Ulriksdal Palace designed by Arthur Percy and produced by Gefle porslinsfabrik, in 1951. The pale yellow and green colors, together...

This unique stoneware set comprises a vase, jar, and plate, all featuring an oxblood glaze, crafted by Henning Nilsson (1907 - 1993) of Höganäs. Each piece bears Nilsson's incised signature. The vase, with its baluster shape and concave upper and lower parts, showcases a blend of sand-colored and dark red oxblood glaze. The jar, broad and cylindrical, exhibits remnants of red oxblood glaze on reliefed rings, with visible red drops at the base. Meanwhile, the plate, predominantly sand-colored, boasts a striking splash of dark red oxblood glaze in its center, extending towards the edges. Vase Measures: Height: 18 cm, Diameter: 9 cm Incised: "Höganäs, HN" Jar Measures: Height: 13,5 cm, Diameter: 11,5 cm Incised: "20-5-65, Henning Nilsson, Höganäs" Plate Measures: Height: 3 cm, Diameter: 18,7 cm Incised: "10-7-60, Henning Nilsson, Höganäs" Henning Nilsson's mastery of glazes, particularly his unique oxblood glaze, distinguishes these pieces. His experimentation with glazes and forms resulted in creations that are both visually captivating and historically significant. The details about Nilsson's background and his association with the Höganäs ceramic tradition is very interesting. The provenance of these pieces lies in Höganäs, where Nilsson established his workshop and experimented with ceramics. These pieces are highly representative of Nilsson's signature style, which is usually characterized by his innovative oxblood glazes. ABOUT OXBLOOD GLAZE Oxblood glaze, originating in 18th-century Chinese porcelain, is a deep red ceramic glaze, also known as Sang de boeuf glaze. Developed during the Kangxi reign, it's part of a series of "flambé" glazes marked by varying effects. Primarily made with copper oxide in a reducing atmosphere, it was produced with a variety of shades of colour and as well as mottling, streaked effects in the glaze, which often fades to white at the top of pieces, and conversely thickens around the shoulders of vases and at the foot, which is often not fully covered by the glaze. There is often crackle, and a greenish tinge at the edges of the glazed area, where the glaze is thin. All of these were considered desirable effects. Generally the glaze is only applied to the outside of closed shapes, the inside and rim left with a clear glaze. ABOUT HENNING NILSSON Henning Sigfrid Nilsson, born on October 7, 1907, in Välinge, Sweden, and passed away on January 14, 1993, in Höganäs, was a distinguished Swedish ceramist. Henning embarked on his artistic journey by crafting small stone playing balls, which he fired in a brick kiln and sold to his close acquaintances. During the tumult of the Second World War, he diversified his endeavors, establishing a tailoring, laundry, and antique shop in Höganäs to augment his income. It was through this antique trade that he encountered the sculptor Robert...

Adorable and very rare candle holder, L163 candle holder by Hans-Agne Jakobsson Markaryd from the 1950s. The base is in white glass with a brass candle holder. The lampshade is in ...

Nice set of four Gunnar Ander candle sticks by Lindshammar Glasbruck Sweden in 1950s. Candleholder with red transparent glass and brass candleholder. The price is for the set.

A blown glass vase designed by Ture Berglund and produced by Skansens Glasbruk, Sweden, 1940s. Dimensions: 4.125” H x 4” diameter Diameter of opening: 1”

A large brown bowl designed by Berndt Friberg at Gustavsberg. It is 31 cm in diameter and 8.5 cm high and in very good condition except from a tiny mark in ...

Danish Modern Jens Harald Quistgaard for Dansk Black Iron Swivel 7 Arm Candle Holder. Featuring a enameled black cast iron tree form with adjustable an...

A beautiful stoneware bowl with amazing glaze. Made by Tyra Lundgren. Executed during the artist's time spent at Sèvres, between 1934-1939. Excellent condition. Impressed with artist's name and maker's marks. Tyra Lundgren (1897-1979) was one of the most multifaceted artists and modernists of the twentieth century. She was a painter, drawer, sculptor, ceramist, glass- and textile designer, as well as an author and an art critic. She was the first woman who designed glass for Paolo Venini at Murano in Venice and she also served as the artistic leader at Arabia in Helsinki at a time when men tended to hold those kinds of positions. Tyra Lundgren grew up in Djursholm, near Stockholm. Her parents were John Petter Lundgren, professor at Veterinärinstitutet (institute of veterinary sciences) in Stockholm, and Edith Lundgren née Åberg, who was a housewife and raised their six children. The bourgeois home also comprised a nanny and a female cook. The family were very socially active, travelled often, and enjoyed the outdoor lifestyle. Tyra Lundgren’s schooling began at Djursholm coeducational school, where her teachers included Natanael and Elsa Beskow and Alice Tegnér. Her school friends included Greta Knutson-Tzara, Stellan Mörner, and Ingrid Rydbeck-Zuhr. Tyra Lundgren knew from the time she was five years old that she wanted to be an artist. She first became aware of the profession through Axel Fahlcrantz, who rented a studio on the plot of land where she lived with her family. In 1913 she began to attend Högre konstindustriella skolan (HKS, now known as Konstfack, college of arts, crafts and design) where she studied decorative art as well as handicrafts in various forms until 1917. One of her fellow students and friends there was Estrid Ericson, who later founded Svenskt Tenn AB in 1924. Whilst attending HKS Tyra Lundgren also took painting lessons at the Althin school of painting. In 1917 she was accepted as a candidate at the Royal Swedish Academy of Fine Arts where, apart from breaks during which she undertook studies abroad, she remained until 1922. She spent a couple of months taking lessons from Anton Hanak in Vienna and from 1920–1923 she was a student of André Lhote in Paris. Tyra Lundgren was primarily active in four countries: Sweden, Finland, France, and Italy. She spent much of her professional life travelling and considered herself to be a European. Greece and Mexico also formed important centres in her artistic life, as did the USA. She had an extensive social network which included focal individuals within twentieth century-European and American artistic and cultural circles. Tyra Lundgren’s main artistic motifs were birds, fish, and people which she depicted through different techniques and materials. Her artistic expression involved a variety of different directions and styles. She was a pioneer of the 1920s Swedish Grace style, the name of which had been coined by the art critic Morton Shand at the Stockholm Exhibition of 1930. This was a Swedish Art Deco style, characterised by elegance and traditional art which contrasted with the current artistic ideals of functionalism. Tyra Lundgren made her debut at a group exhibition held at Kungliga Akademien för de fria konsterna in 1921. She went on to show her work at various exhibitions throughout the 1920s. After that period she only very rarely exhibited her paintings. Tyra Lundgren’s painted output can be divided into different periods or stylistic directions. The first of these, and the most extensive, was her post-Cubist period which began in 1920 on her arrival in Paris. Her paintings from this time and right up to the mid-1930s typically comprise portraits, self-portraits, live-model painting, still-lifes, interiors, and landscapes in the Cubist style. Many of the great number of self-portraits she painted were produced in the New Objective style, displaying broad variation in terms of clothes, poses and techniques. Two of these – Huvud med vit duk and Självporträtt both from 1921 – can be seen at Moderna Museet in Stockholm, although the majority of these works are at Gotlands Museum. Tyra Lundgren’s second artistic period comprises the years of 1927 to 1929 and is characterised by the New Objective style inspired by medieval techniques and materials (Giotto, Piero della Francesca). Her motifs were still-lifes and landscapes. At this point she was living in Rome and was close to the circle involved in the Valori plastici: rivista d’arte art journal. This period saw a breakthrough in her development as a painter. From the 1950s through the 1970s her work can almost be described as belonging to the Concrete style. Using light pastel colours her paintings sought light in a sometimes non-figurative expression, but often depicting abstract bird-shapes or other nature-inspired imagery. Her paintings from this period are outsized and display powerful colours, in yellows, reds, and blues. Tyra Lundgren maintained a constant production of drawings, both in terms of individual artworks and sketches for patterns and designs. She also produced the illustrations for her book Fagert i Fide. Årstiderna på en gammal gotlandsgård, published in 1961. During her early years she also produced advertising illustrations. She spent the final years of her life primarily working with lithographs which were printed at Galleri Prisma and depicted images of doves, swallows, magpies and crows. Tyra Lundgren is meanwhile best known for her work as a ceramist and in this sphere she was one of Sweden’s leading exponents. She worked in the porcelain industry as a designer and as an artisan and ceramic sculptor. Her first job was at St Eriks Lervarufabrik in Uppsala from 1922–1924, she then worked at Arabia from 1924–1937, and at Rörstrand and Lidköping Porslinsfabrik. She was the artistic leader at Arabia ahead of the 1930 Stockholm Exhibition and she exhibited her work at the World’s Fairs. During the 1934–1938 period she was connected to the Manufacture nationale de Sèvres porcelain factory in Paris. Tyra Lundgren was a pioneer when it came to giving ceramic art a public space in Sweden. She produced around 20 outsized reliefs in stoneware, so-called monumental reliefs. One of these is Märkeskvinnor, from 1947, for the former girls’ school at Bohusgatan in Stockholm. From the 1940s onwards Tyra Lundgren produced sculptural objects in Chamotte clay and stoneware, with various glazings. Her small birds are well-known and popular with many. When her ceramic efforts became too much for her during the 1970s she then produced models for sculptures in bronze. There are six of these in various places around the globe, including Solfågel in Almedalen, Visby. Tyra Lundgren began to work as a glassware designer at Moser in Karlsbad in 1922 where she designed new table services and modernised older ones. She also worked freelance for Riihimäki factory in Finland during the 1924–1929 period. From 1934 to 1938 she was employed by Kosta glass factory where she mainly designed thick-walled bowls and vases, engraved with classical motifs. She was introduced to the glassmaker Paolo Venini at Murano during the Triennale di Milano of 1936 and they began a collaboration that lasted into the 1950s. As part of this collaboration Tyra Lundgren became the first woman to design glassware and, in conjunction with the glassblower Arturo Biasutto, she developed new techniques of glass production. Her motifs at this point were birds, fish, snail-shaped designs and leaf-patterned bowls using traditional techniques as well as in new designs. It was during this time that she created the so-called tissue-shaped bowls and it remains unclear as to who specifically came up with the design but Tyra Lundgren claimed it was of her making. Tyra Lundgren was active as textile designer for Licium (now HV Licium), the sacred textiles...

A green-glazed stoneware vase designed by Wilhelm Kåge and produced by Gustavsberg, Sweden, c. 1950s.

A brown vase designed by Berndt Friberg at Gustavsberg in Stockholm, the vase is 25 cm tall and about 8 cm in diameter. It is in excellent condition and is marked as on picture and w...

Very rave in this massive size, but is chipped on top rim.

Scandinavian Modern ceramic vase signed by Mari Simmulson for Uppsala-Ekeby. Mari Simmulson, (1911-2000) was born In St Petersburg and move...

A lovely brown ceramic vase with a relief decor of birds designed at Royal Copenhagen by Jørgen Mogensen in 1961. The vase is 17.5 cm (7") high and in excellent condition. It is mark...

Fin Design Mid Century Modern platter created in 1957 by Kaj Franck (1911-1989) the Origami design for Arabia (now owned by iitala) platter is timeless with its slick and geometric S...

A smoked and fluted blown glass vase designed by Edward Hald and produced by Orrefors, Sweden, 1930s.

Sgrafitto decorated pipe tobacco humidor from Laholm Studio in Sweden. Polychrome glazes: purple, white, green, brown. Feturing its original cork lid. Signed/marked. Made circa 1960-...

This burl made in Sweden with precision handcraft gives a nice edition to any living room with intention to give an organic simple, but jet complex look. The signs of the wood struct...

Delicate petite Scandinavian organic modern ceramic bowl with turquoise and aqua blue colored matte glaze creating an graphic swirling relief pattern on the white material. Use as se...

Set of eleven amazing glass vessels by Nanny Still. Clean design with beautiful proportions, the simplicity and diluted colors giving them a strong yet tranquil presence. Three of th...

Set of handmade Danish midcentury modern circular vase and vide-poche dish. Rustic look with beautiful glaze in light gray, white, sand and beige colors. Both items signed by the art...

A green glazed stoneware vase designed by Carl-Harry Stålhane and produced by Rörstrand, Sweden, 1960s.

A beautiful Danish / Scandinavian Modern / Organic Modern sterling silver plate candlestick or candelabra holder attributed to designer Hans Jensen, circa mid-20th century, Denmark. ...

Matching pair of solid brass oil lamps. They feature onion shaped tops and trumpet shaped bases. Manufactured in Scandinavian during the 1960s or 70s in a style reminiscent of Quistg...

A lovely vase with a brown & blue har fur glaze designed by Berndt Friberg at Gustavsberg in Stockholm, the vase is 27 cm high. It's marked as on picture and was made in 1962. It...

A beautiful stoneware vase with amazing glaze. Made by Hertha Bengtson for Rörstrand, Sweden, 1950s. Excellent condition. Signed 'Bengtson' and 'R' för Rörstrand. Hertha Bengtson (1917-1993) is one of the well-known representatives of the illustrious Swedish ceramic design of the 20th century. She was one of the leading designers for the Rörstrand factory in the 1950s. Bengtson is represented at the Swedish National Museum of Art and Design. Hertha Bengtson was born in Ysane in Blekinge and grew up on a farm with her four brothers. Her parents were Henning and Asta Bengtson. Her father was a jack-of-all-trades and ran both a mink farm and a shop alongside his farm, which was the least of his interests. Her mother, to whom Hertha Bengtson was very close, was a skilled weaver. Hertha Bengtson's interest in textiles and handicrafts came from her mother. From her grandmother she inherited Scanian country textile knowledge and from her grandmother’s neighbour she learned to tat the Scanian way, without patterns. Upon completing her education at a girls’ school, Hertha Bengtson wanted to become a drawing teacher. However, there was no money to continue her formal education. Hertha Bengtson achieved top marks in drawing and handicrafts and therefore gained a place as a handicrafts teacher at one of the region’s elementary schools. During her time at the girls’ school, she had also taken evening classes in porcelain painting. In 1937 she applied to Hackefors’ porcelain factory in Linköping where she became employed as a pattern designer. Hertha Bengtson was interested in all aspects of the factory and when the men were called up for military service at the outbreak of the Second World War, she became head of her department at age 22. Hertha Bengtson wanted to create her own porcelain. She applied to and became employed at Rörstrand’s porcelain factory in 1941, where she started as a pattern designer but quickly became a master designer. Hertha Bengtson’s ability to combine beauty with function was fundamental to her success as a designer. Her breakthrough came with the innovative blue-and-white tableware...

A blown glass vase designed by Tapio Wirkkala and produced by Iittala, Finland, c. 1950s.

This is a set of vintage 1970's Kosta Boda Snowball Candle Holders by Ann Warff. Crafted out of heavyweight, lead-free, clear crystal. Original sti...

Large Swedish Turned Bowl, ca. 1780 The old repairs on this bowl add to its unique character and beauty. With beautiful repairs and owner mark. M...

A cute couple of heavy ice glass figurines or bookends (Flat backs) The female Troll with long hair was designed by Peter Johansen and manufactured by Bergdala Glasbruk in Sweden dur...

Twi-star shaped aqua blue bowl designed by Per Lütken in 1964. Manufactured at Holmegaard in Denmark during the mid-late 1960s. It is called Aqua or Fionia and it is signed PLS by th...

Footed/Pedestal Burgundia centerpiece bowl designed by Svend Aage Holm Sorensen and decorated by Svend Aage Jensen. Manufactured by Søholm in Denmark...

A blown yellow and clear glass vase designed and produced by Gunnel Nyman, Finland, c. 1940s.

This set of Scandinavian wooden candle holders is a perfect example of the simplicity and natural beauty that characterize Scandinavian design. Made of wood, often from light species...

Ceramic vase, top with beautiful wavey shape model "Våga" by Wilhelm Kåge for Gustavsberg, Sweden 1950s. Mark: Gustavsberg, Sweden. In good condition, smaller signs of wear and a...

KF2 was designed in 1957 and manufactured from 1958 to 1962. A geometric-shaped appetiser dish. One of Kai Franck's masterpieces, combining structural beauty with functional elegance...

A green-glazed fluted earthenware vase designed and produced by Upsala Ekeby, Sweden, 1930s.

A lovely gray/blue speckled vase designed by Gunnar Nylund at Rörstrand, the vase is 14.5 cm (5.8") high and 8.5 cm (3.4") in diameter. It is in mint...

A unique blue vase designed by Carl-Harry Stålhane at Rörstrand in 1960. The vase is 32.5 cm (13") high and in excellent condition, it has a lovely shape and a beautiful glaze. The v...

Modernist Kranit Bowl in Black Steel and Red Enamel, by Herbert Krenchel for Torben Ørskov & Co., Enameled Steel, Designed 1953 This 1950-60s Moderist bowl, the 'Krenit' bowl, ...

A beige and green glazed earthenware vase designed and produced by Upsala-Ekeby, Sweden, 1940s.

Elegant stoneware vase by Carl-Harry Stålhane, in tall, angular form. Embossed graphic pattern, lake blue glaze. Carl-Harry Stålhane was one of the stars among Swedish ceramic artis...

A lovely serving dish of model Domino designed by Stig Lindberg at Gustavsberg. It is 20 x 20 cm and in excellent condition. It is marked below with the Gustavsberg stamp. The Do...

A blown glass vase designed by Ture Berglund and produced by Skansens Glasbruk, Sweden, 1940s. Dimensions: 4.75” H x 4.75” W x 5.5” D Diameter of Opening: .75”

A green-glazed earthenware vase designed by Erik Mornils and produced by Nittsjö, Sweden, 1930s.

Set of Four Scandinavian ceramic goose money banks, Höganäs Keramik Sweden 1990s. Each marked under the bottom with maker's marks, and some dated. One ke...

A white-glazed ceramic vase designed by Jerk Werkmäster and produced by Nittsjö, Sweden, c. 1930s.

A grand Scandinavian Modern floor vase with amazing glaze. Designed by Ewald Dahlskog for Bo Fajans, Sweden, 1930s. Great condition. Makers marks on base of vase. Ewald Dahlskog...

A brass candelabra designed by Gunnar Ander and produced by Ystad-Metall, Sweden, c. 1950s. Dimensions: 8.125” H x 7.25” diameter Holds .375” diameter candles 

A green-glazed earthenware vase designed and produced by Upsala Ekeby, Sweden, 1930s.

A ceramic vase with a lovely glaze designed by Carl-Harry Stålhane at Rörstrand, it´s 32 cm (12.8") high. It´s in excellent condition, it is marked as 2nd quality because a small whi...

Harry Moilanen (1931-1991) for Nuutajärvi Notsjö. Vase in dark blue and clear mouth-blown art glass. Finnish design. Dated 1963. Measures: 18.5 x 1...

Martin Aberg for Servex teak waste basket. Fully signed with burnt in mark, Servex, Made in Sweden. Circa 1955-60. Good overall condition. Gently restored....

A pair of decorative, large Scandinavian modern square bowls / plates with wonderful abstract motifs. Designed and manufactured by the Danish ceramic artist Jeppe Hagedorn-Olsen in ...

Set of three stoneware sculptures by Jan De Rooden and Johnny Rolf, a Dutch ceramicist duo. They were invited by Stig Lindberg to work at Gustavsberg as guest designers, and their ye...

Six candleholders, brass stars, designed by Pierre Forssell for Skultuna, Sweden, 1960s. Bottom with maker's mark and signature.