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The rococo style, defined by its sinuous curves and natural beauty, swept through Europe in the 18th Century. Sweden was then something of a remote northern outpost, but its craftsmen were not to be underestimated. The Swedish Rococo period saw a new royal couple take to the throne and the Swedes' elegant take on the style flourish.
Sweden’s artistic ‘golden age’ spanned three design periods, which naturally followed fashions in Europe’s cultural heartlands. The dramatic Baroque period (1650-1750) gave way to Rococo (1750-1775), which was followed by the refined Gustavian era (1775-1810). All of these styles were influenced by trends in France and England but came later to Sweden due to its location and comparatively small population.
The historical context
Several events sparked Sweden’s design prowess in the 18th Century. King Karl XII’s wars came to an end in 1718, ushering in a new period of peace and prosperity. Sweden’s upper and middle classes were eager to beautify their homes, and those with the money to do so indulged in lavish interior decoration. Secondly, the Swedish government announced a ban on imported furniture in 1731. In the early part of the 18th Century, Sweden relied heavily on imports from England and France. This measure intended to support native craftsmen and encourage domestic excellence, a move that certainly paid off. Lastly, the fall of the Caroleans brought new royals to the throne. King Adolf Frederik and Queen Lovisa Ulrika of Prussia were a fashionable young couple, influenced by the ideals of the French Enlightenment.
When rococo arrived in Sweden around 1750, the style had already been thriving in France for 20-30 years. The architect Nicodemus Tessin the Younger was overseeing the build of The Royal Palace at Stockholm when he died in 1728, leaving the project incomplete. Luckily for Sweden’s cultural legacy, Tessin had chosen his successor wisely. He left the commission to his promising young student, Carl Hårleman. Hårleman demonstrated a mastery of architecture and became one of the most influential figures of the 1700s. Indeed, the grandest manifestations of the rococo style were in Sweden's great palaces.
Swedish Rococo in the royal palaces
Hårleman needed to complete and furnish The Royal Palace in Stockholm for the needs of King Adolf and Queen Lovisa. He largely followed Tessin’s designs, except in one crucial respect. Tessin’s plan revolved around the baroque style, but Hårleman – with a keen eye on fashions in France – adapted it to incorporate the new rococo trend. This was not necessarily a drastic change; we sometimes describe the rococo style as the final expression of baroque. Indeed, the late baroque period had already moved away from overly dark and imposing furniture. Softer designs, often with a painted finish, were increasingly popular. This transitional phase paved the way for rococo to take centre stage.
Queen Lovisa was far from a passive patron; she was one of Europe’s leading cultural monarchs and favoured the playful rococo style. Fortunately, The Royal Palace had many, many rooms to fill. French cabinet-makers came over to contribute designs and teach Swedish craftsmen their skills. One of Hårleman’s major contributions to Swedish cultural history was his insistence on educating others and subsequent generations in order to spread techniques and skills.
The Chinese pavilion on the grounds of the Royal Palace at Drottningholm.
At Drottningholm, where the royal couple resided until their new palace was ready, designers refurbished parts of the palace in the rococo taste. A major, and often overlooked, element of Swedish Rococo design was the chinoiserie style. The Swedish East India Company was formed in 1731, sparking enthusiasm for all things oriental. The Chinese Pavilion at Drottningholm, designed for Queen Lovisa’s birthday, is a fantastical palace in itself that combines European Rococo with exotic eastern taste. Examples of classic Swedish Rococo furniture adorn the rooms at Drottningholm to this day.
Nature's ornament
Rococo is certainly heavy with ornament and celebrates beauty for beauty's sake, but not without thought. The word rococo combines two French words: coquille (shell) and rocaille (stone). Nature’s innate beauty is certainly at the heart of this hedonistic style. Rococo reflects the natural world in both form and decoration. It has a gentle fluidity and embraces asymmetrical shapes and ornament. Any right-angles are softened with rounded corners to create welcoming designs.
We also recognise the rococo style for its decorative motifs. Popular iconography included shells - the style’s namesake - as well as dragons’ wings, vegetation and floral tendrils. Swedish Rococo mirrors demonstrate the many elements of this style beautifully. They feature elaborate gilded foliate frames and shell crestings. The master Swedish mirror-maker Johan Åkerblad spanned both the rococo and Gustavian styles during his career with great success. Surviving mirrors attributed to Åkerblad provoke great excitement today.
Swedish architects and designers naturally drew from French and English designs, but they also put their own stamp on the rococo style. Over in France, Louis XV's interpretation of rococo was at the frivolous and elaborate end of the spectrum. Meanwhile, the style propounded by leading architects such as Hårleman maintained the Swedish sense of refinement and conservatism.
The Swedish take on Rococo
Swedish Rococo cabinets feature pronounced bonnet-tops and doors with gracefully shaped panels. Chairs and tables exhibit beautifully carved friezes and rest on cabriole legs. The Swedish Rococo chair is one of the most famous chair designs in history and the model is still very desirable today. These chairs have simple carved wood frames, and the most popular design has an open fiddle-shaped back with a single gently carved splat. Many examples of rococo chairs remain today in Sweden's great palaces and country houses.
Sweden’s painted furniture defines its legacy, and the Rococo period was no different. We are fond of Swedish antiques for their pastel colour palettes, yet the popularity of black-painted rococo furniture is less well-known. Craftsmen also adopted rich and exotic Chinese hues, so a diverse range of painted furniture survives from this period. There is always a difference between furniture produced in Stockholm, Sweden's capital and cultural centre, and country pieces. Stockholm rococo pieces might have more finesse, but country versions with those tell-tale rococo curves are charming in their own way.
The transition from rococo to Gustavian was similarly subtle to that of late baroque to rococo. Queen Lovisa's place in the royal household continued, as she served as Queen Mother to King Gustav. In addition, many prominent designers of the rococo era fused old and new fashions in their designs. It wasn’t until the end of the 18th Century that rococo's distinctive curves fully gave way to straight-lined neoclassicism.
Rococo for today's home
Design in Sweden underwent exciting development and change throughout the 18th Century. The result is a plethora of stunning antiques, offering furniture and decorative pieces for every taste. Swedish Rococo furniture and furnishings are an excellent choice for today’s home. The graceful curves and fresh paint colours make rococo suitable for traditional and contemporary interiors alike. The soft femininity of the style is perfect for a bedroom or dressing room, whilst the flora and fauna themes lend themselves to a conservatory or orangery setting.
Browse our collection of Swedish Rococo antiques here and all of our rococo-style pieces here. View our lookbook 'Sinuous curves' for a little inspiration.
As rattan enjoys another heyday, we explore the appeal of wicker furniture and how to style it in your home. Indoors or out, in small doses or entire schemes, this versatile material continues to permeate our interiors for good reason.
The rattan advantage
Rattan has been harvested throughout history in the tropical jungles of Australia, Africa, and Asia because it is both strong and malleable. A member of the palm family, this trailing vine plant takes the form of a long and thin stem that grows tall. In fact, it is very sustainable, being the quickest developing tropical wood and taking only 5-7 years to renew.
Rattan is similar to bamboo, but crucial differences make the former easier to work with. Whist the bamboo stem is hollow, rattan stems are dense through to their core. Bamboo is certainly strong, but it is more likely to crack and split under pressure. The outer core of the rattan stem is one of the hardest plant materials in the world, yet it is soft and porous inside. The ecological prowess of this plant and its pliant qualities help to explain its popularity throughout history.
Wicker throughout the ages
Rattan and steel drinks trolley, designed by Raoul Guys.
Talking about rattan and wicker can cause confusion. Wicker refers to the process of weaving raw materials to create an object, and it is one of the oldest methods of furniture-making. Wickerwork was integral to the formation of civilisation, from China to Egypt. Basketware was the main outlet, and beautiful examples survive from ancient communities. The Egyptian craft inspired the Romans, who adopted wicker as their own and spread it throughout their Empire. In these early stages, wickerwork in lots of countries often relied on weaker materials like rush and palm. It wasn't until the 'Age of Exploration' in the 15th Century that a far more suitable material began to spread around the world.
By the 17th Century, wickerwork in Northern Europe increasingly began to resemble what we see today. Wicker was particularly popular for cribs, bassinets, and other such baby items. Over the next two centuries, rising trade with Asia brought rattan to the West. This brought Europe and America a new, stronger material for wickerwork and the desire for a tropical look and feel became more popular. The Victorians were particularly enamoured with this material, considering it exotic but just about civilised and refined enough for their tastes. Rattan furniture was then imported from Britain's colonies in the Far East during the late 19th and early 20th Centuries. It boomed considerably in America, with the Wakefield Company and Haywood Brothers & Company offering large-scale manufacture of rattan furniture. Our love affair with woven furnishings was in full swing.
Mid Century meets rattan
Pair of French Mid Century rattan and wrought-iron armchairs.
Like other 70s trends, rattan has resurged with a vengeance in the 21st Century. We see its prevalence on the antiques and vintage market, but also in modern homeware and garden stores. Rattan use has varied greatly depending on periods and styles, proving its adaptability. We owe much to Mid Century designers for redefining the use of the material in design. In the late 40s and 50s, the world was still reeling from war and there was a desire for furnishings that reflected a more casual lifestyle.
Rattan was utilitarian, comfortable, and aesthetically pleasing. Suddenly, it was everywhere and it stood for stylish and understated sophistication. Designers and collectors realised that rattan, far from being dated, was actually very well-suited to modern life. Paul Frankl was one of the first major designers to experiment with the plant in modern design. Frankl used rattan for his sleek Art Deco designs, and it was a perfect complement to his ergonomic shapes.
In the later 20th Century, the likes of Gabriella Crespi proved that woven furniture could be both functional and glamorous. The iconic Italian designer drew her inspiration from the Far East and combined rattan and bamboo with everything from tubular steel to African red marble.
The 80s came and a demand for more high-tech design left rattan in the shadows again. But this certainly wouldn’t be the last time we saw it…
Styling wicker furniture
Wicker furniture is in the midst of another zenith, and this time it might just be here to stay. Indeed, following the latest hit BBC drama, The Serpent, searches for rattan furniture have surged along with other 1970s trends. As its popularity continues to endure, open-mindedness is key to styling rattan in your home.
Whenever wicker has fallen from favour, it has been unfairly associated with dated décor and clichéd garden furniture. But it is far from boring, and far from passé. On a practical level, rattan is breathable, comfortable, and easy to clean. But it is also a versatile visual treat. Woven furniture can be used in whole suites, or just use a couple of one-off pieces to bring texture and interest. Rattan is a natural partner for everything from dark wood, to bold modern light fittings, to polished brass. As a result, it looks at home in every room. Elegant wicker pieces are your trusty design saviour, whether you are looking for bathroom shelves or a drinks trolley for the home office.
There's also a presumption that rattan only suits a fresh white minimalist scheme. Not so; the natural patina of the wickerwork sings against punchy paint colours and vibrant accessories. It works wonderfully with bohemian or shabby chic styles, but there are also Mid Century examples that gave rattan a smart, sleek-lined facelift. From the sprawling country pile to the minimalist townhouse, a scattering of wicker is welcome in any style of interior. Of course, the qualities and look of wicker furniture make it well-suited to outdoor spaces too. Combine rattan with bright textiles in a conservatory or patio setting to welcome in the Spring.
To view our collection of rattan furniture and accessories, click here.
The Regency was the pinnacle of British sophistication and a pivotal period in design. It was a time of fascinating architecture and elegant furniture, but the influences in this period were far from straightforward.
The Prince Regent
At the heart of the Regency was the Prince Regent himself. In 1810, George III became seriously ill and was deemed mentally unfit to rule. The Regency Act was passed the following year, which allowed his son to rule on his behalf. Technically speaking, this period is the nine years that George IV was Regent. 1820, the Prince Regent became George IV and King in his own right.
But in reality, Regency style and design was more enduring and covered more or less the first 30 years of the 19th Century. Nonetheless, it is rightly seen as a reflection of the character of the Prince Regent. He reacted against the frugality of his upbringing under his father, George III, with extravagance. George IV was seen as a hedonistic and gluttonous young man, ridiculed by cartoonists at the time.
The concept of The Grand Tour and broadening one's horizons was long gone. Britain was suffering a trade blockade due to its war with France, so young men wined and dined in London’s most prestigious venues. The ‘dandy’ emerged, and these men modelled themselves on the styles of the Prince Regent.
Yet, even more so than food and women, George’s great passion in life was building, designing and collecting. The Prince Regent spent the first few years of his reign commissioning vast amounts of furniture. The interests of the Regent, as well as the wider context of the Napoleonic wars, help us to make sense of the paradoxes of Regency style.
The eccentric Royal Pavilion in Brighton, as well the Prince’s city residence Carlton House, were two iconic expressions of Regency style.
Empire style
Regency coincided with Empire style across the channel in France. Napoleon’s successful campaigns in Egypt meant that Egyptian motifs frequented French furniture. The Prince Regent wanted to match, if not surpass, the architecture and design of his rival.
Neoclassical design was very much in vogue already, but Regency designers followed classical precedent in a far more prescriptive sense. They did away with the fussy ornamentation of Adam style and stayed true to classic simplicity of form.
Exact copies of ancient Greek, Roman and Egyptian pieces were made and classical motifs were incorporated into Regency furniture. Regency brings to mind heavy wood and this was certainly the heyday of mahogany and rosewood. There was a newfound appreciation for surface and beautiful patinas, particularly the bold figuring of exotic timbers.
Regency prioritised straight elegant lines and beautiful sabre or concave legs. The period did away with marquetry and intricate carving, preferring brass metalwork for ornamentation.
But no single set of characteristics can define Regency. In fact, it was a melting pot of foreign and home influences. It was refined British elegance juxtaposed against extravagance. Many styles were revived or imported. There is undoubtedly a strong oriental influence in Regency furniture. Chinoiserie and japanning were popular, Indian styles were copied and bamboo surged.
The Regency architects
So, who were the main players in this design revolution?
The strong classical influence on the Regency period was fuelled by new publications about classical art and architecture. Thomas Hope published Household Furniture and Interior Decoration in 1807, which was full of classical designs inspired by his extensive travels. The ideas in this book would have a profound influence on Regency style.
Hope wasn't alone, though. The architect Henry Holland sent designers to Rome to make drawings of classical objects. These were published in the book, Etchings of Ancient Ornamental Architecture, in 1799-80. Thomas Sheraton’s Cabinet Dictionary of 1803 shows Grecian couches, which introduced the daybed into Regency Britain. Animal motifs and ‘sabre’ design legs were engraved in this book- features that would become the distinctive characteristics of Regency furniture.
It is impossible to mention Regency without the name John Nash. Nash was court architect to George IV and their visions were very much aligned. With his remodelling of the Royal Pavilion in Brighton, Nash realised the Prince Regent’s dream of a lavish palace in the oriental style. This extraordinary building is clearly influenced by Indian and Chinese styles. Nash was also the brains behind modern day Regent Street and the terraces of Regent’s Park.
Furniture manufacturers of the time were eager to embrace this new style. Renowned cabinet makers Gillows led the charge, incorporating Regency traits including lion paws and reeded carving into their finely crafted pieces.
The Regency legacy
Furniture from this period is highly sought after and has a lasting legacy. Regency chairs are particularly renowned, with their crested rails, low curved backs, brass inlay and sabre legs. By the end of the period, cotton or linen upholstery became the norm and chintz flourished. The Prince Regent loved dining in style and prioritised these spaces in his homes. Because of this opulent attitude to dining, you can discover wonderful sets of Regency dining chairs.
Furniture companies began making lots of tables made for specific purposes. For example, extendable tables, nests of tables, kidney tables, sofa tables and side tables were all produced throughout the period. Regency tables are often round and pedestal bases with tripod legs are common.
However, it wasn't all about furniture and mirrors were a significant feature of Regency style. Circular convex mirrors were particularly prominent in this age, copied from France and seen as a symbol of wealth. These mirrors were supposedly put in dining rooms so that butlers could keep an eye on the progression of guests through each course. Indeed, convex mirrors were so popular in Regency England that they are the only type of mirror to be listed in the mirror section of Sheraton's Cabinet Dictionary. However, you also find beautiful overmantle mirrors from the Regency age.
Regency style has lasting attraction. It is full of unique features and yet still inherently classic. As a result, the architecture and design of this period is very influential and reflects socio-political movements.
The Lorfords collection 
Regency furniture is a delight to have in your home and new pieces are always coming through the doors here at Lorfords. Come and visit us in our hangars at Babdown Airfield and our Tetbury shop to see these pieces in all their glory.
Visit our lookbook, 'Regency flair,' to browse some of the Regency furniture we house.