Mid-20th Century Vanities

Beautiful wall dressing table by Uno and Östen Kristiansson, made from oak. Cool details in the joinery and the sculpted handles on the drawers.

Olof Ottelin for OY Stockmann AB, Kervo Snickerifabrik, dressing table with stool, Finland, 1960s This elegant vanity table with stool combines simplicity with style in a superb ma...

Beautiful “Birgitta” dressing table by Carl Malmsten, made from oak. Neat, curved design. Submerged drawer in the table top, covered by a jalousie door.

Luigi Massoni for Poltrona Frau, ‘Dilly Dally’ vanity set, steel, mirror, leatherette, fiberglass, Italy, design 1968 Outstanding Italian dre...

Luigi Massoni for Poltrona Frau, ‘Dilly Dally’ vanity set, steel, mirror, leatherette, fiberglass, Italy, design 1968 Outstanding Italian dre...

Carlo de Carli for Fiarm, coat rack and vanity, oak, plastic, laminate, metal, mirror, Italy, 1960s This multifunctional wardrobe is designed...

Vanity from France made with a beveled glass veneer and three drawers with original glass pulls. The top has a hinged three part mirror. Fully open, the mirror has a width of 34.25”....

Listing for Vanity and Stool. Listed dimensions are for vanity. Stool dimensions as follows: Height: 20” - Width: 16” - Depth: 23” - Seat height: 17” Burled elm, original gilt-bro...

Tilework executed by Boleslaw Danikowski. Precise dimensions: (With Mirror) Height: 47 - Width: 41.7 - Depth: 11.2 inches (Without Mirror) Height: 29 (Stool) Height: 17" - Wi...

Beautiful five-drawer 1960s teak dressing table or vanity by G-Plan in outstanding condition. Designed by Victor Bramwell Wilkins for G-Plan during the Mid-Century Modern era in Brit...

Lovely dressing table by Erik Höglund, in a whimsical design with smooth lines. The table top stands on a piedestal base, cute knobs on the drawers and on the sides of the mirror. Erik Höglund was one of Sweden’s foremost glass artists, whose innovative designs and glass making techniques revolutionized the scene of both art glass and serve ware in the 1950s. His bold and personal designs gave him and the glassworks Boda worldwide acclaim. Erik Höglund is considered the most influential Swedish glass artist of the 1950s and 1960s, alongside Ingeborg Lundin. Höglund was admitted to the prestigious school Konstfack at the age of 16, first studying to become an art teacher, but later changing to the sculptor’s line. He rebelled against many of what he considered to be conventional ideas at the school, and was almost expelled. His nonconformism would follow him through his career, aiding him in following his own path and repeatedly breaking new ground. Erik Höglund started working at Boda glassworks in 1953. At the time, Boda focused on producing high-quality serve ware in ethereal, cut-glass designs under the direction of Fritz Kallenberg. Höglund brought new perspectives and ideas, experimenting with the glass mass to give it a bubbly look and introducing colored glass and irregular finishes. These ideas were in direct opposition to the traditional ideas of what quality glass is, and Höglund was initially met with skepticism. He created rustic designs that allowed for everyday, multiple uses of glass, allowing it to be both functional and aesthetic. This down-to-earth idea appealed to both critics and collectors, although it took some years into the 1950s to win over the general public. In 1955, Erik Höglund’s glass was presented at the H55 Exhibition and one of his vases, whilst considered scandalous due to its suggestive decor, was purchased by the Swedish king. In 1957 he was awarded the Lunning Prize, its until then youngest awardee. Following that, his glass was exhibited in the Georg Jensen store on 5th Avenue in New York, making Erik Höglund and Boda world renowned. Erik Höglund was a master of all artistic trades. His glass murals were an important part of his artistic deed, leading to many assignments of public decorations, around Sweden in churches, schools, banks and other public places, as well as in the United States and Australia. In the early 1960s he also started working with wrought iron, making chandeliers and candelabras, combined with glass or unadorned, that became hugely popular. Boda opened its own smithy, Boda Smide, to satisfy the demand. Höglund also worked with wood, creating rustic and playful children’s furniture, candle holders and beds. Höglund left Boda in 1973 and worked with public assignments, often in collaboration with architects and his wife Ingrid Höglund. He continued to work with glass throughout the years for Pukeberg, Lindshammar and Strömbergshyttan glass works. He was was an incredibly productive artist, creating 150 public works from 1956 into the 1990s. Life cycles, sports and acrobatics, everyday life and family relationships were recurring sources of inspiration. Among his most notable work is the decoration of Johannelund Church in Linköping, which consisted of murals, glass sections, furnishing and the church silver...

Olof Ottelin for OY Stockmann AB, Kervo Snickerifabrik, dressing table with stool, Finland, 1960s This elegant vanity table with stool combines simpl...