Sweden

Patinated and nice pair of Paavo Tynell wall lamp made in cooper and produced by TAITO oy in the 1940s. The lamps are both made with a solid cooper painated shade and has an round op...

Set of 10 hand carved wooden fruits with bowl. High level of craftsmanship, executed in a handful of different hardwoods.

Door Handle or Knob 'Tender' by Spaces Within, Amber Brass Dimensions mm: 32 x 32 x 19 Weight: 32 g TENDER has an intriguing balance of geometry and po...

Stunning, sculptural teak drop-leaf dining table by Peter Hvidt and Orla Møllgaard. Beautiful oval shape and legs in the shape of five joined, sculpted rectangles. Beautiful teak woo...

Yngve Ekström Arm Chair model Sibbo in solid oak designed in 1955 for Stolab AB in Sweden. Good overhall condition. Original cushion available. Yngve Ekström is one of the most influ...

A lovely small Gustavian sofa from Ersnäs Luleå, Northern Sweden . The sofa has untouched blue original paint. Nice model, very easy to place. Good storage under the lid. The sea...

Scandinavian Modern Capella sofa by Illum Wikkelsø for N.Eilersen. The sofa is from the second half of the 20th century and fits the Scandinavian modern s...

Rare Swedish Milking Stool circa 1850 Made out of a solid piece of pine wood. This three-legged milking stool with a handle and amazing smooth brown patina. The movement and overal...

Rare French mid century high bar stool in teak wood and patinated iron by Pierre Jeanneret for Chandigarh India, 1950s. In good original condition with nice lettering on the side of ...

Antique Swedish gustavian sideboard from Northern Sweden. The sideboard is a genuine antique country house furniture that was made around 1820....

Old ring in solid 18K Yellow Gold featuring seven pointed Blazing Star in Red Enamel and band with profile ornament of oak leaves & acorns. Can be some type of Occult ring...

Rare antique item from Rörstrand. The Rörstrand company has produced ceramics for nearly 300 years and is one of Sweden’s oldest industries. The Swedish Porcelain Works was founded i...

Set of three Bold and Eclectic Pink Murano Chandeliers. Petal Formed Glass Prisms in Traditional Italian Mid-Century Style. The glass petals have swirls in white, pink and clear glas...

Rare pair of mid century Swedish modern armchairs in beech and newly upholstered brown / gray striped wool fabric. In good matching condition. Di...

Wastepaper bin designed by Einar Barnes. Produced in Norway by PS Heggen during the 1950s. Made from laminated walnut and teak wood. Good vintage condition with age related wear and ...

Mid-Century Modern teak coat rack or hanger. The rack is made by Virum Møbelsnedkeri and designed by Adam Hoff and Poul Østergaard in Denmark around the 1960s. The rack is hung on the wall and has a folding hanger...

19th Century Swedish Antique clock cabinet from Umeå Västerbotten ,Northern Sweden. . A good example of old ingenuity and compact living this pi...

A very beautiful folk Art box from Burträsk ,Västerbotten Northern Sweden. A very decorative original painting that is typical of that region. Nice salmon pink original painting ins...

Rare pair of Danish "Quarto" mid century wall scones / lamps in patinated copper by Torsten Thorup & Claus Bonderup for Focus Denmark, 1950s. In good vintage and matching condition....

Scandinavian modern table lamp by Markslöjd Kinna Sweden, with a makers mark underneath. The lamp is from the 1960s and has a frame in birch. The end connecting to the lamp shade is ...

These 18 karat gold earrings of the "poissardes" type have a classic, slightly tapered hoop shape with a smooth, polished surface. They hang elegantly through the earlobe and are sec...

Pair of Iconic post-modernist lounge chairs by Mats Theselius, model called “Eldorado”. Designed in 2002 , these chairs are number 235 and 236 in a series of 360. Built from etched ...

A large and beautiful Grand Tour grained beech pedestal bowl from the 19th Century. Decorated with a band of inlay and raised on a square plinth base. Wear consistent with age and use

Striking small stoneware vase by Berndt Friberg, in an appealing round form with a cylinder shaped neck. Creamy pale blue hare’s fur glaze. Berndt Friberg was a Swedish ceramicist, ...

Bracelet from 1950 - 1960s for Men and Women in solid 14K Yellow Gold decorated with six natural Blue Sapphire stones cur cabochons.Hallmarked / tested solid 14K Yellow Gold metal. ...

Impressive Paavo Tynell Table lamp made in polished brass and amber glass shade. The lamp is in great condition and it's stamped by the editor TAITO. Model 5061. Dimension : 38.5 cm ...

This two-seater sofa was designed by Arne Norell in the 1970s. The "Kontiki" model reflects Norell's mastery of Scandinavian design, combining both comfort and craftsmanship. It feat...

Amazing hand mirror by Nils Fougstedt, model 619. Made from pewter and stained wood in a graphic form. The back of the mirror is decorated with a dramatic mythological motif in relief.

Tea Service "Flash On" by Dorothy Hafner, Rosenthal Studio-Line Germany, 1980s. 40 pieces of fantastic coffee/tea service. The iconic Post-Moden, Memphis pattern...

‎‎Swedish lighting manufacturer, Luxus gave form to some of the now iconic models that define the “Swedish mid-century style”. This solid pine wood, three-light chandelier was create...

Beautiful sofa made by unknown swedish or danish designer and cabinetmaker during the first half of the 20th century. Great shape with a slight curve.

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Early 20th century Norwegian Enameled Silver cigarette box of excellent quality with translucent Guilloche Green Enamel decor accented with...

This ring has navette or boat shaped crown with Platinum clusters melted into solid 18K Rose Gold . Central stone is marquise cut natural Blue Sapphire surrounded with 16 old Europea...

A small mahogany and walnut veneered table or writing desk with brass holders in the lyres formed sides. The top is provided with inlaid green leather; the drawers have divided small...

A beautiful bronze vase with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, with a few light scratches. Stamped 'BRONS', model number '312' an...

Beautiful oak and rattan bench by Børge Mogensen. Great materials, low design that works both as a bench and a coffee table.

Hill House chair by Charles Rennie Mackintoch, designed in 1902 and reissued in the 1970s.

Russian / Georgian Orthodox Cross pendant in solid 56 / 14K Gold. Delicate hand - engraved ornament. Hallmarked 56 zolotniks (14K) used betwee...

This exquisite mid-century modern table lamp model RD 1566 by Orrefors showcases the timeless elegance of Scandinavian design. Designed by Carl Fagerlund and handcrafted from high-qu...

MAKER: Unknown COUNTRY: Unknown, could be Austria PRODUCED: probably sometime between 1920-1960 EYES: Black, Glass MATERIAL: Animal fur, probably goat. SIZE: Height: 20 cm, Leng...

Door Handle or Knob 'Suave' by Spaces Within, Amber Brass Dimensions Height: 172 mm With: 20 mm Depth: 35 mm Weight: 130 g SUAVE is a charming handle with a subtle yet elegant design. It curves slightly off centre creating an intricate and dynamic slant. This versatile handle is perfect for big drawers and cabinets as well as built-in dishwasher and refrigerator/freezer. Beautiful on closet doors...

A brutalist stainless steel bowl with amazing relief decor. Made by Olav Joa Joff for Polaris Fabrikker, Sandnes, Norway. The series 'Steel Art' was in production 1972-1974. Great...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Swedish "dug out barrel"/laggkärl from around 1850s Made from a single solid dugout pine tree trunk with a attatched bottom, perfect as a planter. Height: 70 cm/27.5 inch Depth: 34...

A glazed and hand painted porcelain box and cover with figural serpent finial. Model no. 5709, 'The passions of man'. Designed by Gio Ponti for Richard Ginori, Milan, Italy, circa 1...

Elegant 1930s bronze decorative bowl, in a low, bulging form. Oil-patinated in varying nuances of green. GAB was founded in Stockholm in 1867 and was an important influence on the S...

A beautiful stoneware art deco vase. Amazing glaze with hand-painted details in gold. Designed by Gunnar Nylund for ALP (Lidköpings Porslinsfabrik), Sweden, 1930s. Great condition, ...

Old Swedish Toi et Moi Ring made ca. 1907 -1917. Solid 18K Yellow Gold twisted band, top of the crown in White Gold or Silver with two larger bezel set natural old European cut Diam...

Rare pair of mid century wooden office / dining chairs in teak and rattan by Pierre Jeanneret produced for Chandigarh, India 1950s. In good vintage condition with matching patina and...

Timeless Scandinavian Design Designed in 1966 by renowned Swedish designer Arne Norell, the Ari chair is a true masterpiece of Scandinavian modernism. This set includes the signatur...

Rare mid century three seater pine sofa in style of Kaare Klint produced in Denmark, 1960s. In great condition newly upholstered in light green wool fabric. Dimensions: H: 89 cm / ...

A large collection of Scandinavian decorative antique library leather-bound books Please note that the pictures listed are a sample of the books available and not the exact 50 books available. We will send pictures of the actual books before shipping them out. An attractive collection of 2000 mid-size antique leather-bound books. This lot of books on literature from Sweden are wrapped in leather-bound covers, comprised of varying rich, warm tones and gold leaf print embossing. The books seated side-by-side measures 2,5 meters, approximate 8´2 foot run. This collection of antique Swedish books are ready to ship and take their place, handsomely adorning your bookcase or library shelves...

Danish modern sofa made by cabinetmaker Edmund Jørgensen. Made in Denmark during the 1940-50s. Blond beech legs and new upholstery in caramel colored sheepskin. Back rest made with t...

Set of six fine 19th century Gustavian chairs with the original padding and muslin. dry scraped to reveal the original finish. Stockholm, Sweden ca 1800.

Swedish Decorated Glass Table Lamp, 1950s. Textured lamp base made of glass in green colored glass with decorative, textured pattern. New wiring. Great condition. Atelier made lamp...

This is the Swedish Modern 1930s cabinet in mahogany and stained birch. It comes decorated with a 21st Century artwork addition, “The Emigrants”. The pattern, made of 7500 brass nails, nailed by hand on cream colored leatherette, presents an Old West scene. The cabinet stands on four tall baluster shaped legs in black. The legs are mounted on top of a concave shaped floor shelf on low feet. The irreparable damaged veneer on the doors was the reason for the artwork project - why throw away a beautiful cabinet with such a high quality? Behind the left door hides three movable shelves and behind the right one there are two movable shelves and two drawers. The lock works and one ornamented key is included. This is an old cabinet...

1920s- 1930s Spanish Sterling Silver Flexible or Bending Fish with Green Glass eyes. This Fish is a remarkable table decoration with incredibly flexible body. All parts are intricat...

Rare antique genuine sideboard from Sweden. The sideboard is a country house furniture in gustavian style from northern Sweden. Made by hand in solid pine with double doors with clas...

Very rare Antique hard paste porcelain figure of a Cat made at the Royal Porcelain factory of Vienna in 1784 , Sorgenthal period (1784 - 1805). Detailed Overglaze hand - painted deco...