Table mirror by Erik Höglund, Sweden, 1950s

- Rare vanity / ladies desk, design Erik Hoglund, produced by Boda, 1950s - Solid pine - Restored, excellent vintage condition.       

Pine and leather. Good condition. Diameter: 30 cm Height, including the leather: 46.5 cm

Pine and leather. Good condition. Diameter: 24 cm Height, including the leather: 38 cm

Table mirror in brass, possibly manufactured by Nordiska Kompaniet, 1950s. Brass, wave-shaped border decoration. Adjustable.

Lovely ro¨lakan carpet designed by Erik Lundberg and produced by Va¨varega°rden, Eringsboda, Sweden, 1950s. Signed "V". Measures: 167 cm x 242 cm.  

Beautiful and rare pair of Swedish easy chairs, produced early 1950s. Pine and reupholstered cushions in Kvadrat fabric. Excellent conditi...

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''.

A Contemporary Century hall table and mirror by Swedish artist Erik Höglund (1932-1998) for Eriksmåla, Kosta Boda, 1967. Having a polychrome colo...

A wrought iron candelholder five lights by Erik Hoglund Sweden, circa 1970 Very large glass pendants.

Beautiful pair of bedside tables produced by Svenska Möbelfabrikerna Bodafors, Sweden, during the 1950s. Made in birch with a root veneer on drawers with a slick brass handle. Beau...

Rare multi table by Bengt Johan Gullberg, designed and manufactured in Sweden during the 1950s. This table features a black lacquered steel frame and teak wooden top. By placing the ...

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...