Stockholm

Set of three Colorful Murano Chandeliers with glass tubes in a pink tones and a swirled marble pattern. Tronchi Formed Glass Prisms in Traditional Italian Mid-Century Style. The mura...

Charming Swedish pendant light from the 1940s featuring a delicate fabric shade stretched over a sculptural metal frame. The softly diffused light highlights the embroidered floral m...

Painting is signed for acknowledged artist Niels Holbak 1884-1954, who educated at the Art Academy in Finland 1909-10 and was taught at the Art Academy in Copenhagen from 1912-1914 a...

A rare Italian contemporary "543 Broadway" chair with a matching ottoman in red and yellow moulded resin seat and back, patinated steel base and feet in plastic with springs by Geata...

Swedish Turned Platter 'Sovelfat' ca 1820 Smooth patina, has owner marks. Made out of birch wood. Heigth: 2 cm/0.7 inch Diameter: 29.5 cm/11.6 inch

Beautiful sideboard by Carl Malmsten, with elegant rosewood veneer, decorated around the edge and top with inlays of flowers and leaves in a lighter wood. Chunky feet with diagonal l...

“Grasshopper” floor lamp by Greta Magnusson-Grossman. Made from lacquered metal with amazing lines and proportions. Original black lacquer.

Striking chandelier by Carl-Axel Acking, in a singular design made in brass. Large, white lacquered petals reflect the upward light from the four polka dot perforated shades and also...

Set of Ten 'Red Chair' Dining Chairs by Kaare Klint for Rud Rasmussen, Denmark, 1928 This set of ten dining chairs, known as the Red Chair, was designed by Kaare Klint in 1928 for D...

Low pine bookcase with cabinet part, made at NK in a rustic functionalist design. Rounded corners combined with traditional design elements including a cast iron keyhole plate. The ...

White and Black Diamond Necklace Ball Pendant Star Black Enamel Material Gold plated Silver Length: Long 26" Designer: J DAUPHIN White Diamonds: White diamonds are highly regard...

The present painting, Autumn mood in the garden by the female artist Elisabeth Warling (1858–1915) is a fine example of her impressionistic works. Signed "Elisabeth Warling" and with...

Wonderful pendant lamp 'Carolin' model T549/3 designed 1963 by Hans-Agne Jakobsson for his own company in Markaryd, Sweden. A nickel plated frame with an original shade with a beauti...

Rare set of fireplace tools designed by Gunnar Ander for Ystad Metall, Sweden, 1960s. Beautiful set in brass and metal, typical for Gunnar Ander's designs. Condition: Original condit...

Ceiling lamp / chandelier produced by ASEA in Sweden, 1950s. Set of 2 available. Please note: Listed price is for one (1) ceiling light. The lamps can be lengthened or shortened ac...

Table lamps in brass, model B-075 manufactured by Bergboms, Sweden, 1960s. Listed price is for the pair.

A pair of wingback chairs in oak, with soft green wool mix fabric. Country style, Scandinavian 1960/70s. In good condition, smaller signs of use.

Vintage Swedish Flat Woven Rug attributed to Rakel Carlander (Size: 244 cm x 163 cm). Color: Blue, Beige, Grey, Pink, Green and White. A vintage Swedish hand woven wool rug in flat w...

A stunning yellow stoneware vase by Berndt Friberg at Gustavsberg designed in 1968, the vase has a lovely har-fur glaze. The vase is 14 cm (5.6") ta...

Portrait of Gustaf Wilhelm Palm (1810–1890) by Lorenz Frølich (1820-1908) Signed with monogram and dated May 1849. Pencil and pastel on paper. 29.5 × 21 cm. This portrait of the Swed...

Beautiful Kromo Metal bowl in massive bronze with a decor of a heron on the face of the bowl. A Kromo metal bronze bowl is a piece of mid-century modern Scandinavian design, from th...

Round soft Mohair pillow BONBON in camel color. Size: Cover diameter 45cm, Hight: 10 cm ( inner pillow included 50cm diameter and approx. 10 cm high to get extra round ) Handmade in ...

A pair of large wall lights designed by Uno Kristiansson circa 1966 and made by Luxus. The main body of the design is turned pine wood. White acrylic diffusers sit atop the sconces. ...

White Diamond Heart Hoop Earrings with Black Enamel Victorian Style Memento Mori Designer: J Dauphin These hoop earrings present a heart motif set with white diamonds and framed by ...

Round soft Mohair pillow BONBON in Beige color. Size: Diameter 45cm, Hight: 10 cm ( inner pillow included 50cm diameter and approx. 10 cm high to get extra round ) Handmade in Sweden...

This impressive Old Master oil painting, created in the early 18th century, is attributed to Jan Pieter van Bredael the Younger, a renowned Flemish artist who lived at the turn of th...

Rare dining table model "Lovö" produced by Nordiska Kompaniet, 1940s. - Solid pine with great original patina, never restored. - Extendable with two extension leafs. - Conservatio...

A striking sculptural pewter bowl designed by Schreuder & Olsson in 1972. Featuring a minimalist organic form with soft asymmetry, the piece rests on a discreet circular foot, giving...

A rare chest with marine intarsia decor, perfect as a blanket/ bed-end chest or coffee table with storage. Beautiful massive brass handles. In good condition, smaller signs of age,...

Pair of floor lamps produced in Sweden by ASEA belysning. Made during the 1950s. cast iron base with grey paint and polished brass. New lamp shades in ...

Impressive Paavo Tynell pendant light commissioned for an interior. The lamp is entierely made in solid brass with some brass rings decoration on...

Originally designed in 1928, the ‘Red Chair’ is one of Kaare Klint’s most iconic creations, embodying his meticulous attention to proportion, materiality, and craftsmanship. This par...

- Listed priced is for a single (1) pendant - Produced in Sweden, early 1930s - Enamelled shade with the right industrial look - Lovely black original color with signs of usage/patin...

Lovo cabinet by Axel-Einar Hjorth, produced by Nordiska Kompaniet, 1930s.   

This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999. The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further. The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work. The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson. Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented. Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre. Information: Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep...

Designed by Josef Frank in 1939. New leather and original Svenskt tenn lampshade.

Lovely Swedish Grace ceiling light from Chr Berg & Co, with a brass and pale orange colored glass shade. Graphic, functionalist design. Textile chord suspension.

Striking flush mount chandelier by Hans Bergström, in a cool modernist design. Made from brass with eight arms and opaline glass shades suspended on decorative knobs. Hans Bergström...

A set of ten rosewood dining chairs designed by Kurt Østervig in Denmark during the 1960s. Crafted from richly grained rosewood, the chairs embody the harmony of sculptural form and functional elegance that characterises Scandinavian modern design. The gently curved, moulded backrests offer both comfort and visual rhythm, while the turquoise wool upholstery provides a refined contrast to the depth of the wood. Østervig’s work reflects the essence of Danish design, where craftsmanship and modernist ideals coexist with a deep respect for natural materials. In this set, the precise joinery and tapering legs demonstrate the exceptional standards of mid-century Danish cabinetmaking. Combining architectural clarity with organic warmth, these Kurt Østervig chairs...

Elegant functionalist sideboard by Otto Schulz, with bold lines and contrasting birch and darker colored wood. Large round drawer handles with decorative ...

Rare and Unique Mid-Century Modern Handmade Stoneware Table Lamp by Swedish ceramist and designer Gunnar Nylund for Rörstrand, Sweden. 1940's. The body displays simplicity and the g...

Diamond Black Enamel Ring Fleur de Lis Ring with black Enamel, inspired by Victorian Age, Memento Mori Designer: J Dauphin The Fleur-de-Lis, directly inspired by the resplendent F...

Beautiful table lamp from NK, with a brass base, leather wound handle and green lacquered metal shade adorned with a brass flower.

The small yet stirring painting "Landscape With Mill at Sunset" showcases the remarkable talent of Swedish painter Mauritz Lindström. He was a resp...

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...

A beautiful, decorative Swedish Modern wall sconce in shell-shaped frosted glass, 1950s. One chip on the lower left side of the glass. Needs to be rewired.

Elegant stool by Axel Einar Hjorth, model called “Ceasar”. Made from painted wood with gilded decor. Seat upholstered with horsehair fabric.

A vibrant painting depicting an avenue lined with poplar trees in fall colors, prominently featuring a very large, centrally placed yellow poplar. Possibly an American poplar. The artist, Agda Holst, has employed a diverse palette of colors to the poplars, creating a dynamic and colorful composition. This oil on panel is signed and dated by Holst in 1948. The work exemplifies her use of color and form, characteristics that defined her artistic practice throughout her career. Agda Holst was a Swedish modernist painter known for her precise study of form, stylized compositions, and ability to merge structured geometry with expressive color. Her works, often still lifes, portraits, and figure studies, reflect a balance between naturalistic representation and modernist influences such as Cubism and New Objectivity. Holst's artistic journey began in 1907 at the Académie Colarossi in Paris, where she studied under Christian Krohg. Seeking further refinement, she moved to Munich between 1910 and 1911, studying with Julius Exter, known for his teachings in portrait and genre painting. In 1911–1912, she returned to Paris to study under Kees van Dongen, whose bold use of color and strong contrasts left a lasting impression on her work. The early 1920s marked another period of study in Paris, this time under André Lhote, who instilled in her a structured approach to composition and geometric clarity. Holst’s first public exhibition took place in 1916, when she displayed paintings in a bookstore...

A blue vase with a lovely glaze designed by Gunnar Nylund at Rörstrand, it´s 24,5 cm (9.8) high. It´s in excellent condition except from some minor marks in the glaze and marked as 1...

This vintage 14 karat gold ring features a large, round, faceted rock crystal set in a secure bezel setting. Surrounding the stone, a gold frill encircles it like a skirt, adding dep...

Stool, birch. Produced by Ingvar Hildingsson, Sweden. Signed. Set of 2 available. Excellent condition.

A stunning terracotta sculpture of a laying woman designed byÅke Holm at Höganäs in the mid 20th century. The sculpture is 21 x 11 cm and in excellent condition. It is signed below. ...

A vase with a lovely black glaze designed by Gunnar Nylund at Rörstrand, the vase is 9 cm (3.6") high and 6 cm (2.4") in diameter. It is in mint condition and marked as 1st quality. ...

This exceptional mid-19th century pastoral oil painting, after Eugene Verboeckhoven's celebrated composition "Passing the Brook," depicts a serene rural scene where cows and sheep cr...

Elegant Swedish Modern wall mirror, with a wide, smooth mahogany frame. Lovely, subtle decor of a line of brass pearls around the inner edge of the frame.

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 cap...

A red vase with a crystalline glaze designed by Isak Isaksson in Sweden. The vase is 18.5 cm (7.4") high and about 11 cm (4.4") in diameter and it is in excellent condition. This is ...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

Bring timeless Scandinavian charm into your home with this pair of vintage Swedish pine wall lights, handcrafted with exceptional attention to detail. Featuring solid natural pine wo...

Extremly rare pendant light model A 1983 designed by Paavo Tynell in the 40's and produced by TAITO OY in the same time. The lamp has its original painting on shade, with a rounded l...