Children’s Chairs, Designed by Bengt Lundgren, Sweden, 1960s

Children’s chair, Lilla M. Designed by Caroline Schlyter, Sweden. 1990's. Lacquered plywood. Measurements: Height 58.0 cm/ 22 13/16" Width 30.0 cm...

Children’s chair, Lilla M. Designed by Caroline Schlyter, Sweden. 1990's. Lacquered plywood. Measurements: Height 58.0 cm/ 22 13/16" Width 30.0 cm...

Children’s chair, Lilla M. Designed by Caroline Schlyter, Sweden. 1990's. Lacquered plywood. Measurements: Height 58.0 cm/ 22 13/16" Width 30.0 cm...

Vase designed by Bengt Edenfalk, Sweden. 1960. Glass. Unique. Talatta technique. Dimensions: H: 17 cm/ 6 3/4'' D: 16 cm/ 6 1/4''

Set of six model PK9 dining chairs designed by Poul Kjaerholm for E Kold Christensen, Denmark, 1960s. Leather and steel. Stamped. Dimensions: H: 75.5 cm / 2' 1/2" W: 56 cm / 1' 8"...

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...

1960s Swedish solid pine child's high chair or stool by Bengt Lundren.

Beautiful chair stamped and numbered, produced in the late 1950s and during the 1960s for public buildings (universities, workshops, canteens). The Galvanitas workshop was known at t...

Beautiful chair stamped "Pagwood Pagholz" and numbered. Remarkable process: the seat shell and the backrest are made of a mixture of wood and resin, known as "pagwood". Pagholz chair...

Beautiful chair stamped and numbered, produced in the late 1950s and during the 1960s for public buildings (universities, workshops, canteens). The Galvanitas workshop was known at the time for its quality and durability: the metal was thicker than the competitors and the seat shells were produced in East Germany under high pressure thanks to a Remarkable process: the seat shell and the backrest are made from a mixture of wood and resin, known as "pagwood" with resin, to obtain a superior durability and better to resist water than a varnish. The "Galvanitas" chairs are very comfortable, flexible and strong. Beautiful Silhouette, pretty hue, clean lines and textured seating...

Beautiful chair stamped and numbered, produced in the late 1950s and during the 1960s for public buildings (universities, workshops, canteens). The Galvanitas workshop was known at t...

, 1960s. Strong and thick cognac brown leather.