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From the early years of the twentieth century until well into the 1930s Paris was the epicentre of a design movement that aimed to redefine the decorative arts in a very modern and particularly French way. The passing of time has done nothing to diminish its allure. Chris Yeo delves deeper.
Now, as we know, the French have a long and proud history in the decorative arts – they virtually invented the idiom – but, more than any other, there’s one style that encapsulates le style Francais. You might know it as Art Deco. The French called it Moderne. Ah, Art Deco. Just mention it and images of sleek ocean liners, peopled by impossibly beautiful characters wearing Cartier jewels and sipping Manhattan cocktails spring to mind. Or maybe it’s the futuristic styling of Max Sterm’s Metropolis or even the gaudy delights of the Odeon cinema – those streamlined and chrome-plated ‘peoples’ palaces’ that brought Hollywood glamour to the depression-ravaged masses of the 1930s. Art Deco emerged as a style for the new century and an ever-changing, fast-paced world of motor cars, air travel, flappers, and syncopated jazz. It’s the style of the Chrysler building, of the Zigfeld Follies and, as it happens, Victoria Coach Station; an intoxicating mix that continues to beguile us as much as it did in the Roaring Twenties.
Has there ever been a style more luxurious, glamorous, more imitated and, perhaps, less understood? Let’s start with the name. ‘Art Deco’ was actually only first coined in the late 1960s as a sort of two-hander to Art Nouveau which had preceded it. Also, far from being a single recognisable style, there were, in fact, many different strands, depending on when and where it popped up.
Italy, Sweden and, of course, America all had their own particular ‘takes’ on it. But nowhere did the style emerge more coherently than in France. Many books will tell you that Art Deco first surfaced at the Exposition Internationale des Arts Decoratifs et Industriels Modernes, the world expo held in Paris in 1925. Except that it didn’t. The Moderne style actually began to appear in France much earlier, around 1910 and was well into its stride by the time of the exhibition.
So, having de-bunked a couple of myths, let’s look at what is it that makes French Art Deco, sorry, Moderne, so distinctive. It’s all down to time and place. The French interpretation of the style was extremely luxurious, relying on rare and exotic materials like Macassar, ebony, lacquer, shagreen and mother-of-pearl, to give a sheen of glamour. As the centre of the world’s luxury goods market, Parisian designers were well-placed to take advantage of the readiness of these materials and could also draw on the world-leading expertise that Parisian craftsmen had in working them.
So much for place, as for time, le Style Moderne sought inspiration not from the modern industrial world, instead, it looked back in time to the world of Marie Antoinette and the French aristocracy. For a style so synonymous with the twentieth century, the French Moderne style is firmly rooted in the grand traditions of the 18th Century ancien régime – the political and social system of France before the revolution of 1789 – and its time-honoured traditions of apprenticeship and guild training.
During the 18th Century, France established itself in the forefront of the luxury trades, producing furniture, porcelain, glass, metalwork and textiles of unsurpassed refinement and elegance with Paris becoming the style capital of the western world. The ebenistes of Paris became the acknowledged masters of furniture making in Europe, supplying the homes and chateaux of the French court and aristocracy.
Some of the most beautiful and refined furniture ever made, displaying the highest level of artistic and technical ability, was created in Paris during the eighteenth century. Rather than breaking with tradition, the great designers of the 1920s saw themselves as inheritors of a grand tradition stretching back over two centuries. Tradition, however, was not the only source of inspiration. So too were the exotic, avant-garde trends in the fine arts and fashion. The vogue for exoticism developed following the arrival in Paris of the Russian impresario Sergei Diaghilev and his dance troupe, the Ballets Russes, in 1909, with its wildly atmospheric and outré productions. Léon Bakst’s design for Schéhérezade (1910), for example, featured lavish orientalist sets and costumes. The unexpected colour combinations, vivid patterns and louche furnishings – billowing curtains, low-slung divans, piles of tasselled pillows – were immediately imitated in stylish interiors by Paris artist-decorators.
Paris in the 1920s had an abundance of places where objects in the Moderne style were sold and displayed, mostly galleries, showrooms and shops on the more voguish Right Bank of the city centre. What were called Ensemblier showrooms, such as those of Emille-Jacques Ruhlmann, Süe et Mare and Martine, not only displayed individual pieces for sale but presented fully furnished interiors that suggested the range of what the ensemblier could produce on commission. At the more accessible end of the market, the four big Paris department stores established specialised decorating departments and many speciality shops, including Jean Luce, La Crémaillère and Le Grand Dépôt, which sold a wide range of glass, ceramics, linens and other utilitarian and decorative goods. It was as if Moderne had entered the DNA of the French capital.
For those in search of the Moderne style, Paris is, of course, a mere hop and skip over the channel but for a taste of the style that’s a little closer to home, Eltham Palace near Greenwich is a capsule of 1930s Parisian-inspired sophistication. Stephen and Virginia Courtauld of the eponymous textiles dynasty bought Eltham with its semi-ruined medieval Great Hall, moat and bridge, and rebuilt it as a dazzlingly sophisticated semi-rural hideaway. The saloon is a vast Moderne interior, lined with Australian black bean wood panelling, topped with a dome and finished off with a vast, circular, abstract carpet, the effect is like entering the First Class Lounge of a 1930s liner. Not that everyone felt that at the time: one editorial in The Times likened it to a cigarette factory.
The stock market crash of 1929 saw the optimism of the 1920s gradually decline. By the mid-1930s, Art Deco was being derided as a gaudy, false image of luxury. Despite its demise, however, Art Deco made a fundamental impact on subsequent design. Art Deco's widespread application and enduring influence prove that its appeal is based on more than visual allure alone.
Vive la France!
Click here to visit our lookbook 'Iconic Geometry' for our take on an Art Deco inspired interior.
Or click here to shop our full collection of Art Deco pieces.
Antiques transcend trends; their very survival proves their resilience against the ebb and flow of fashion. And yet, we all know that the best trends return time and time again. Right now, the interiors world is hooked on curves - from scalloped rugs to pendant lights. We explore the majestic beauty of antique Swedish cabinets, and why they're...well, right on trend.
Much of the current dialogue around curved furniture focuses on more contemporary pieces, like kidney-shaped sofas and sculptural coffee tables. The 20th century was undoubtedly a great era of experimentation with shape, and vintage furniture displays some staggering feats of design and engineering. Yet, the Swedes were ahead of the curve (pardon the pun), by a good two centuries.
Swedish Rococo
The straight-lined Gustavian era is perhaps the most famous period of Swedish furniture, yet what came before was beautiful in its own right. The Swedish Rococo period (1750-1775) was nestled between the dramatic Baroque and refined Gustavian years. It’s instantly recognisable for its proliferation of shells, but also for its sinuous curves inspired by nature.
Rococo furniture has an indisputable air of romanticism. It is lighter and more playful than the eras that came before and after it, yet still shows exquisite attention to detail. If you’re looking to create soft and welcoming spaces in your home, look no further than these Swedish antiques. Expertly crafted by Sweden’s pioneering cabinet-makers, the furniture usually sports a painted finish that feels right at home in today’s interiors.
Antique Swedish cabinets - room by room
Sometimes, a majestic antique catches your eye but you can’t quite imagine it in your own home. They’re often far more practical than you think, though, particularly when it comes to storage pieces.
The dining room
In the dining room, it has to be a Swedish cupboard or buffet. This is an entertaining space, so you need furniture that's practical but is also guaranteed to catch the eye of your guests.
Cabinets from the Swedish Rococo period are coveted for their beautifully shaped door panels, sweeping aprons, and graceful cabriole legs. Their defining feature, though, is the pronounced arch of their bonnet tops. This curvaceous silhouette softens any room and offers welcome contrast to a long rectangular dining table.
Short on space? Choose corner cupboards
If you’ve visited any of Sweden’s grand country houses, you may have encountered a floor-to-ceiling wonder in the corner of the room. ‘Kakelugn’ was the name given to the Swedish stoves which afforded them the most efficiently heated houses in Europe by the 19th Century.
Not only were these stoves high-performing, they were stunning pieces of art in their own right. They were covered from top to toe with hand-painted ceramic tiles which complemented the wider décor of the room. These cylindrical stoves were no doubt large, but their corner residence meant they didn’t infringe too much on floor space.
Commissioning your own ‘Kakelugn’ may be a stretch, but corner furniture is a savvy way to add storage in smaller spaces. Their curved silhouette is mostly a preserve of antiques and rarely attempted by modern manufacturers, so they bestow a unique charm on contemporary spaces.
The Swedish corner cabinets in our collection typically feature two cupboards separated by an open mid-section. Their compact silhouette offers both hidden storage and the opportunity to show-off treasured items. Let no space go to waste, and use one of these timeless cupboards for storing kitchenware or board games while softening the lines of a room.
If you’re looking for a lower storage piece for your dining room, choose a Swedish buffet. Often with the same curved profile and graceful panelling as their taller counterparts, buffets also allow for displaying curios and ornaments on top.
The bedroom
Nowhere demands the soft, romantic curves of antique Swedish furniture quite like the bedroom. There’s been plenty of research into the link between our bedroom design and how easy we find it to switch off. Much of this is about creating a gentle, welcoming palette and avoiding overstimulating décor. Equally important, though, is keeping clutter at bay. This is is where storage furniture comes in.
In your bedroom, look to Swedish Rococo commodes and bedside tables to keep essentials close at hand yet out of sight. They usually feature a serpentine form, giving something as simple as drawers a sinuous rippling effect. The flowing lines don’t stop there, as chest furniture offered the opportunity for craftsmen to show off their skills with beautifully scalloped aprons and elaborate curved legs or bracket feet.
The remains of old paint that often cling to Swedish antiques, from neutrals to soft pastels, are the perfect tonic at the end of a busy day. Complete your relaxing bedroom scheme by pairing antique storage pieces with a gently curved stool and a Swedish flatweave rug. When your bedroom ensures both wellbeing and beauty, you can’t go wrong.
The office
A common misconception is that antique furniture is undoubtedly beautiful, but not practical. This underestimates the wealth of innovative design features and expert craftsmanship evident in many antiques, and storage furniture is no exception.
The home office. Somewhere many of us spend a great deal of time, yet often the first to sacrifice good looks for utilitarianism. Antiques offer a plethora of options for injecting character and charm into such a space, including unique desks and chairs. For a statement storage piece, look no further than a Swedish 18th century secretary.
On the outside, these secretaries share many of the decorative features that make Swedish cupboards so alluring; a sweeping bonnet top, elegantly carved door panels, and scalloped or curving feet. So far, so beautiful. But it’s what you find inside that makes these a truly unique addition to any interior.
In the middle of the piece, you will find a sloping section that folds down into a spacious work surface. The perfect size for holding today's laptop and a notebook, these versatile desks allow you to fold away work stress at the end of the day. Behind the desk is often a mixture of miniature drawers, cubby holes, and cupboards within cupboards for stowing stationary and private documents. Above you’ll find a generous cupboard with shelves inside and several drawers below for keeping office items organised.
For a home office that's as welcoming as it is high-performing, pair your secretary with a Swedish Mora Clock. These iconic, beautifully curved clocks will add to the sense of calm while helping you to keep an eye on the time.
Swedish antiques: all shapes and sizes
Our lookbook ‘ ‘ is here to inspire you to decorate with curved Swedish pieces. If streamlined silhouettes are more your style, we offer an extensive array of Swedish furniture here at Lorfords that spans all periods and tastes.
To learn more about the history behind the beauty, explore our articles on the Swedish Rococo and Gustavian periods.
Handmade for centuries, Scandinavian rugs have taken on many different forms and functions over time. While Scandinavian textiles are beautifully decorative, they are also incredibly practical.
Known for their harsh weather conditions and almost everlasting winters Scandinavian countries make sure that any textiles produced not only provide the necessary heat but are also decorative. Therefore they would often be used in the form of wall hangings, floor covers and even bedspreads.
Ryas, Rollakans and Trasmattas – What is the difference?
Ryas
The first rugs produced in Scandinavia were Ryas. For many years during the early Middle Ages, Scandinavians used rugs from the Byzantine Empire, but eventually, they started to make their own. This is when Ryas were first produced. Ryas are handwoven rugs with a thick shaggy long pile. Made by tying knots of fabric to produce a piled carpet, Scandinavians used them for everything, including carpets, bed covers, rugs, wall hangings and even coats! Their popularity soon spread across Northern Europe in the Middle Ages.
Mid 20th Century Swedish Rya Rug
Rollakans
Popular among folk-artists, Rollakans are traditional flatweaves and could be found as bedspreads or on general display. These traditional flatweaves were first produced in the early 18th Century in Sweden. They often have a simple aesthetic with all over geometric patterns making them the perfect design feature for Scandinavian homes.
Swedish Flatweave Rug by Judith Johansson
Trasmattas
Made by weaving recycled cloth, Trasmattas or ‘rag rugs’ use discarded clothes, leftover scraps or clippings of fabric. Making these rugs is very environmentally friendly. Originating in Asia at the end of the 18th Century, these rugs have a short pile. Today they symbolise simple, country-style living but traditionally they primarily adorned affluent houses and were constituted a marker of status. Adding a touch of colour to many interiors today they make fantastic runners.
Swedish Handwoven Rag Rug
Scandinavian rug design
Scandinavian rugs are now not only fantastic for bringing a Scandinavian warmth to our homes but often they tell a great story too. Many of the historic rugs show the great history and culture of Scandinavia.
Ryas often featured designs that represented family trees and ties. They even produced wedding ryas which formed part of the marriage ceremony throughout the Middle Ages. Often these wedding ryas featured the initials of the bride and groom, the date of the wedding or a set of double hearts.
Rollakans can typically be categorised into twelve main shapes: the star, the rose, the octagon, the bird, the lily, the tree, the hourglass, the palmette, the human, the deer, the brook horse and the lightning. They will always have a folklore history to the pattern.
Today the most popular rugs are Trasmattas with their mesmerising patterns, colours, designs and textures. Still created in the present day, they are now created as a hobby rather than a necessity but the outcome is still as beautiful.
Lorfords’ Scandinavian Rugs
Lorfords has a large variety of Scandinavian rugs. Browse our full collection of rugs and carpets here.
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.
"I'm looking for drama in my interiors. That means pieces with great shapes, rich textures, and patina, patina, patina!" This week, we chat to none other than The Antiques Diva herself, Toma Clark-Haines.
Q: The antiques industry has rapidly evolved during the pandemic. What key lessons have you taken away?
A: People do business with people. The world may have gone virtual, but buyers want to connect with the people behind the brands and customer interaction is more important than ever. One of the things we teach in our Antique Dealer Training and Mentoring Program is that dealers need to be the face of their brand in order to connect with their buyers. The connection is important. As a result, video content is key- especially when working with the American market. We work with dealers to develop a video content strategy that connects with their target audience.
Early in the pandemic, I made the bold move to share my personal diary during quarantine on republicoftoma.com. In my blog posts, I spoke about day-to-day life in quarantine. I was vulnerable, open, and real. I confessed the struggles I was going through being alone in lockdown in Italy. It seemed a strange "marketing move," but my business doing antique buying tours has been really disrupted, so I needed to find a way to stay relevant. I stayed relevant by being real. I discussed what was going on in my life at the time.
Also, I pivoted The Antiques Diva to incorporate virtual tours, long-distance buying and selling services, brand-coaching, and more. When you can't go outside, you go in. I started painting again and will be launching a fabric collection in June 2021 at High Point Market. One of the most important lessons I've learned has been about supply and demand. Between Brexit and the pandemic, there is a shortage of inventory on the market. Brits are having problems securing inventory from France because the French are having problems securing inventory from house clearings due to Covid restrictions. Auction houses are experiencing higher volumes of traffic and prices are surging.
In these times, dealers need to think smart. They have to be strategic. I often speak about the gentrification of antiques. What's on the market at a lower price point? Antiques dealers are the arbiters of style- what they sell, interior designers buy, and home décor trends emerge.
Q: Your finger is always on the pulse when it comes to interior trends, are you predicting any revivals in the near future?
A: Asian antiques are killing it right now. With Brits facing difficulties sourcing antiques on the continent, and normal trade routes drying up during the pandemic, our British buyers are relying upon Antiques Diva Asia to bring South East Asian Antiques into Europe. We are watching a global movement of inventory in a different fashion to previous years. For three years I've been predicting this will be the trend, and based upon sales my predictions have finally come true. Combine Brexit sourcing difficulties with a pandemic that doesn't allow people to travel and we've all got island fever! Americans have been embracing this wanderlust vibe for the last several years. Buying exotic touches from faraway places allows us to travel in our own homes.
Speaking of homes, we are selling more practical items. Tables, chairs, sofas, side tables, and even armoires. Remember when armoires were all the rage? And then dropped out of fashion with the advent of the flat-screen TV? Well, they are back as people are seeking storage spaces, particularly for their home office. Tables that can be converted into desks have also been big sellers. Art sales have also increased significantly... perhaps we're all tired of looking at the same four walls?
In these times, dealers need to think smart. They have to be strategic. I often speak about the gentrification of antiques. What's on the market at a lower price point? Antiques dealers are the arbiters of style- what they sell, interior designers buy, and home décor trends emerge.
Q: Furnishing an interior, especially from scratch, can be daunting. Where should you start?
A: In the last 20 years, I've moved eight times within four countries. I always start with the lighting in a new home. Lighting is the jewellery of the room and sets the vibe of a space. When it comes to lighting, it's got to be Italian. From lighting, I then look at pieces with fabulous lines. In love- as well as in antiques- opposites attract. I love a low-slung sofa combined with sexy legs on a French bergère, or the long voluptuous lines of a chaise longue. I'm looking for drama in my interiors, and that means pieces with great shapes, rich textures, and patina, patina, patina!
I always start with the lighting in a new home. Lighting is the jewellery of the room and sets the vibe of a space. When it comes to lighting, it's got to be Italian.
Q: The Antiques Diva is more or less global and pre-pandemic you travelled a lot. What made you settle in Venice?
A: Love. No, not a man. Venice itself. I fell in love with Venice. When I was a child I dreamt of Venice. I had a black and white swimming suit I would wear standing in my bathtub with a yellow broom and I would swish the water and pretend I was a gondolier. When I first moved from America to Europe 20+ years ago, I visited Venice and was disappointed. It was crowded and hot and I hated it. Years later I returned for work with The Antiques Diva & Co and made Venetian friends. They let me inside Venice. The real Venice. There are two Venices. The city the tourists know and the city that lays beyond. Venice is like an onion- you have to peel back the layers to get to the core of the city. I liked the adventure of peeling back the layers.
When I divorced, I found myself frequently going to Venice because it made me happy. I would wander the canals and alleys and get so lost. In getting lost I found myself again. I was living in Berlin at the time and realized that because my job was global, so long as I had a laptop and a plane ticket I could live anywhere. Moving to Venice was the best decision of my life.
Q: When did your passion for antiques start?
My parents didn't have much money, but my mom had great style. She would scour the flea markets, thrift stores, and second-hand markets for fabulous finds from the past. One of her most prized possessions was the silver her grandparents- my great-grandparents- brought with them on the boat when they moved from England to America. I joke I was born with a silver spoon in my mouth- literally. We used the "good silver" every day because my mom's dad always said that there is no silver polish like the patina of daily use. My mom was a second-generation American. Meanwhile, my father's family fought in the Revolutionary War.
I moved to Europe 20+ years ago- first to Paris, then Amsterdam, then to Berlin, before moving to Venice three years ago - I brought the family silver with me and continue to use it every day. I've always seen antiques as another way of travelling; they take you on a voyage to other times and other places.
When I was young I would go with mom to garage sales and she would give me four quarters- $1- to spend. I was rich. For four quarters I could buy a Barbie doll, or a fantastic REAL teapot to play tea party with. I realised at a young age that you could get more for your money at garage sales. I never understood why I would buy new when there were such fabulous treasures for a $1. And more to the point- I could sell what I bought at a garage sale for the same price I paid! If I bought a new Barbie it immediately lost value and had the same value as the used one I purchased.
When I moved to Paris in my 20s with my then-husband, it was second nature to shop the brocantes and vide-greniers. I decorated my fifth-floor walk-up apartment with Paris flea market treasures. I was hooked. Bitten by the fleas.
Q: What prompted you to start your podcast, The Business of Antiques?
When people ask me what I do, I say "I'm in the business of antiques." My company, The Antiques Diva & Co, has always had a mission: to make antiques fun, sexy, modern, relevant, accessible, and PROFITABLE. Most of our clients in America are trade clients and buying for re-sell. If my clients sell well, they buy well, so I began giving clients tips on how to increase their sales. I realised quickly that most people who go into antiques go into the profession because they love antiques- NOT because they understand how to run a successful business.
I launched my Antique Dealer Training and Mentoring Program as well as our Antiques Diva marketing services. We help dealers to build websites, create marketing templates, and offer social media services. We introduce dealers to potential buyers to help them be more successful in their business. The podcast was developed to continue to support our audience and help them to make antiques more profitable.
Q: How do you unwind when you're not running your Antiques Diva Empire?
Pre-Covid I would have said hopping on a plane and going someplace warm and sunny, with a good book and a great spa. Post-Covid, it's simpler times. I live in Venice, so I take long walks in the fog in the early morning. I am learning Italian and take classes four days a week. My mouth is learning the acrobatics required to pronounce those Rs! I love to cook and always set a gorgeous table (even when dining for one). I read and write a lot!
I've been fortunate because even though gyms are closed throughout Italy due to Covid, my gym allows you to book private sessions so you have the entire gym to yourself and your trainer. I have weekly calls with my dear friend Gail McLeod- our head Antiques Diva agent in the UK and founder of Antique News and Fairs. Somehow, when you talk to a friend you feel like anything is possible. Friends and cats! Those are great solutions for unwinding. I have two cats named Fortuny and FIorella, and they are the naughtiest kittens in Venice- but also the most fun. I've trained them to walk on leashes so they go with me on my strolls. One of the nicest things about Venice at this time is that I have the city to myself. It's a magical experience to be alone in Venice.
Q: What's your favourite location for an Antiques Diva buying tour?
Ooo la la. That's got to be the most difficult question I am asked. I LOVE all my tour countries. It's got to be France. Paris prices are at rock bottom at the moment. Provence is always king... or shall I say, Le Roi! Britain also delights because of the wide variety of inventory. Many British dealers have become dear friends and understand the American market so well- even better than the Americans. I love Chaing Mai Thailand for sourcing antiques and Bali is also beyond wonderful. Mamma Mia... did I forget Sweden? How can you ask me to choose? This is like asking a mother to choose her favorite child.
Q: Do you ever get creative or writer's block?
This past year I took a break from blogging on antiquesdiva.com for exactly that reason. During the pandemic, I lost my vision and needed time to think about where we were going next as a company. I took the decision to take a step back from blogging for antiques and focus on blogging on my website for our parent company republicoftoma.com. Only now, one year into the pandemic, do I feel like I'm getting my groove back! In general, my solution for writer's block is to do something else entirely to "forget" about what I'm trying to do. Once I stop forcing it, the words come naturally.
My favourite thing is my desk. It's a desk for a Diva- a French 18th Century marquetry bureau plat, with the most gorgeous ormolu mounts with the faces of women on all four corners. It's feminine yet powerful and reminds me of one of my favorite quotes by Yasmin Mogahed. “Being both soft and strong is a combination very few have mastered.” It also reminds me of how I want to run my business and what type of CEO I want to be.
Q: What's your most treasured antique?
I mentioned my great-grandparents' silver earlier. My house is positively filled with antiques. But my favourite piece is my desk. It's a desk for a Diva- a French 18th Century marquetry bureau plat with the most gorgeous ormolu mounts, with the faces of women on all four corners. It's feminine yet powerful and reminds me of one of my favorite quotes by Yasmin Mogahed. “Being both soft and strong is a combination very few have mastered.” It also reminds me of how I want to run my business and what type of CEO I want to be.
Q: What would our readers be surprised to learn about you?
I only pretend to be a Diva. Really I am a farm girl. Growing up, I lived on a ranch 30 miles from the nearest town. I learned to drive a pickup truck when I was 12 and a tractor when I was 14. I love adventure and I love horses, but I don't ride dressage- I ride Western. Although I once played polo in Buenos Aires, and it gave me a new respect for the thighs of English-style riders! I've played polo in Buenos Aires and jumped out of aeroplanes. I've gone elephant trekking in Myanmar and learned to steer my own elephant. Contrary to what you might expect, guiding an elephant is NOTHING like guiding a horse!!!
Q: What's your go-to comfort food dish?
Mamma Mia. I may live in Italy, and I may have attended cookery school in Paris in my 20's, but when it comes to comfort food I am a true American. I am a rancher's daughter. Give me a really rare steak and fries any day and you've got a very happy girl!
Q: What has been your best lockdown purchase?
A: Okay this question makes me realise I've been seriously remiss. I don't think I've made any indulgences (other than too much wine) in more than a year. Come to think of it, my wine cellar may be the benefactor of my best lockdown purchases. I decided mid-Covid life is too short to drink bad wine. After our first lockdown ended in the summer, I went to my favourite wine shop in Venice- Cantine del Vino già Schiavi- and informed them I needed to learn about wine. Rather than me choosing the wines, I asked them to prepare some palette teasers for me. The next day they delivered 36 bottles, each with a special nuance I need to taste. I'm working my way through their recommendations in a self-study wine course.
Q: What makes your house your home?
A: I fill my house with objects from my travels. The word 'souvenir' in French means 'travel memories.' And that's what you will find in my home. Memories. Memories of places visited, people whose lives have intersected with mine. The architecture of life. My house becomes a home when it's filled with living things- my cats, plants, friends, family, and laughter. My home is about long dinners and late nights. Lazy mornings in bed. The smell of coffee in the morning.
Gustavian style flourished in Sweden during the 18th Century. Inspired by the neoclassical French style, Sweden became major players in Europe’s age of elegance.
Gustavian enlightenment
When discussing Gustavian design, the individual behind the name matters. King Gustav III reigned from 1772 to 1792 and oversaw and encouraged the flourishing of the arts.
The King was shot at a masquerade ball in 1792 and died a short while later. This event inspired Verdi’s opera Un Ballo in Maschera.
Although he was loved by some and hated by others, King Gustav’s role in the Swedish Enlightenment is clear. He was an educated and cultured man who welcomed artists and writers to court. Despite the pressures he faced at home and abroad, his reign saw huge advancements in art, literature and design.
Marriage of design
Gustavian design fuses foreign influence with long-standing Scandinavian ideals.
In France, Louis XVI reigned during one of the most significant periods of French furniture design. His style was more refined than his predecessors, but maintained the opulence and grandeur. King Gustav spent a crucial period of time in Paris and at the royal palace in Versailles. This experience left him determined to make Stockholm the ‘Paris of the North.’
Today, Swedish design is generally associated with minimalism and muted colours. Much of Gustavian style did display these trends, but period pieces can actually be very splendid.
The entertainment rooms in palaces and noble houses during this period were full of gilded furniture and grand mirrors. At a glance, you might be in a French 18th Century palace.
Classical discovery
Across Europe, design was influenced by the discovery of Pompeii and Herculaneum in the early 18th Century. Artistic concepts were completely overhauled by the exposure of this clean-lined elegance.
At Stockholm Palace, you can view King Gustav’s Museum of Antiquities to get a sense of his fascination with the classical. The museum displays a large collection of sculptures which the King brought back from his ‘grand tour’ around Italy.
The Pompeian style is evident in Gustav’s Pavilion at Haga Park. The interiors of the Pavilion feature marble columns and rich detail. King Gustav commissioned Louis Masreliez for the design, who went on to define the style of the period.
The impact of neoclassicism is clear in Gustavian furniture. The pieces are architectural in form and display symmetry, columns and carved detailing. The classical inspired Swedish furniture's trademark restraint, as it moved on from the elaborate rococo period.
The Swedish touch
Despite all of these influences, Swedish style is inherently… well, Swedish.
French 18th Century design had a huge impact on King Gustav, but the Gustavian interpretation was more refined. In fact, Gustavian furniture is a loyal tribute to Swedish ideals.
Swedish winters are long and dark, which still shapes their interior design to this day. The priority has always been to bring light into rooms, through pastel colour palettes, giltwood and plenty of mirrors.
Although the décor in palaces and noble houses was grand, Gustavian style became more homespun as it spread throughout Sweden. Often the carved frames of chairs and sofas were left exposed and the furniture was painted. Local woods were used such as oak, beech and pine.
Although Gustavian designs were simple, they were well-executed and designed for their purpose. Function was a priority and lots of corner cabinets and console tables emerged.
Shape and detail helps to identify the Gustavian: bonnet topped cupboards; barrel-backed chairs; fluted legs and carved decoration to name a few. Some of the most distinctive carved motifs are guilloche (woven circles), rosettes and scallop detailing.
Gustavian interiors
So, why does this style have such a profound influence?
Even the most modern furniture store, IKEA, draws upon its Gustavian heritage. Interior designers constantly source antique and reproduction Gustavian pieces to transform homes with Swedish style.
The most obvious reason is that Gustavian furniture is easy to live with. It is equally suited to a grand London townhouse, a country cottage, a chalet or a villa. Curved lines and carved motifs make these pieces decorative, but the silhouettes and paintwork are simple.
There is also a certain magical quality to Gustavian period and style pieces. Furniture with its original paint gives a lovely fairy-tale finish, especially in a muted colour palette. It's feminine, but not overtly so. Gustavian pieces were often fairly small and mobile and they were meant to accentuate a space, not dominate it. This is a versatile style as a result, whether it's used in small doses or as an entire decorative scheme.
No Gustavian interior is complete without the iconic Swedish Mora clock, which is a piece as rich in history as it is beautiful. Mora clocks are a testament to community craftsmanship. In the early 18th Century, the town of Mora suffered a bad drought and many people fled to Stockholm. Here they would learn new skills and trades, including clock-making.
Upon their return to Mora, a local industry started as families worked together to manufacture these iconic clocks. Mora clocks radiate the quiet peace and grandeur of Gustavian style and have a beautifully rounded shape. A Swedish Mora Clock is often the finishing touch in a Gustavian inspired setting.
Lorfords and Gustavian
Gustavian furniture has a valuable place at Lorfords and Swedish pieces are always coming through our doors.
Browse Gustavian daybeds, sofas, chairs, Mora clocks and other antiques on our website or come and see them in person.
Our two hangars at Babdown Airfield and showroom in Tetbury give Gustavian pieces the space and context they need to do them justice.
Visit our lookbook, ‘Swedish Enlightenment,’ to view our selection of Gustavian furniture.
Winter gloom getting you down? If it is and you happen to be in London over the next few weeks I recommend you hot foot it over to Bermondsey where some instant sunshine can be found.
The Fashion and Textile Museum (who knew?) currently have a rather wonderful exhibition about the architect and designer Josef Frank and his work for the Swedish company Svensk Tenn. Linens pulsate with tropical blooms in eye-popping colours; a curtain fabric is printed with an abstracted map of 1940s Manhattan in red white and blue; and floral patterns with names like Dixieland, Himalaya and Hawaii are as fresh as the breath of Spring. It’s Prozac by the yard and a revelation if you thought that 1940s fabrics were all about cut moquette and black out curtains or that design in Sweden starts and ends with the Billy bookcase. But that’s the thing about Swedish design – it packs a punch.
You’ll be hearing a lot more about Sweden this year and it’s all done to one word: Lagom. Remember hygge? It was the Big Thing from Denmark that you would have to have spent the last six months living as a hermit in a cave not to have heard about. Well, it seems our appetite for all things Nordic remains as healthy as ever. Lagom is a Swedish word which (very roughly) translates as ‘just enough’. It stands for moderation and not going over the top and has its origins in the country’s Lutheran religion. Lagom is central to the Swedish sense national identity and influences all aspects of the country’s life, language and culture. Anyway, it now appears that lagom has the power to enhance our lives in a similar way that hygge had just a few short months ago. I won’t go into details here, lest I have to add ‘Lifestyle Guru’ to my already heaving CV. Oh, but maybe I’m being too harsh. As so often in life, I think it’s a case of “For those who like that sort of thing, that is the sort of thing they like”. Personally, I prefer the more tangible aspects of Swedish culture and, for those intent on getting some lagom in their life, I’d say look no further than Swedish design.
Lagom is at the heart of a favourite Swedish saying: ‘enough is as good as a feast’. At its best, Swedish design isn’t about having enough of one thing but the right amount of morethan one thing; a melding of different styles and influences which unite to create something uniquely Swedish. For this reason, the history of Swedish design is a history of happy marriages – the formal with the informal, Neo-Classicism and Rustic, Functionalism and Classical; Modernism and traditional crafts.
LONDON, ENGLAND - JANUARY 26: General view of exhibits in the show space during the "Josef Frank Patterns-Furniture-Painting" exhibition at the Fashion and Textile Museum on January 26, 2017 in London, England.. (Photo by Ian Gavan/Getty Images for Fashion and Textile Museum)
Swedish design is about getting the ingredients and the proportions just right. What do I mean? Well let’s go back to where we started. At first sight, you couldn’t get further away from lagom than a room full of Josef Frank’s fabrics, but that’s not how they’re intended to be seen. Used economically, however, on a series of cushions, a blind or to upholster a chair, they bring it that room to life: lagom in action. Used in this way, the mantra of moderation, actually adds to rather than restricts creativity and it’s in the very DNA of Swedish design.
The roots of a distinct design identity in Sweden can be traced to the 18th century, when, after an extended stay at the court of Louis XVI at Versailles, the future King Gustav III initiated a style of decoration that took its lead from the Neo-Classicism that was sweeping Europe at the time. Gustav III was a patron of the arts, founder of the Swedish Academy and commissioner of the Royal Opera House. Since his death (from a gunshot wound sustained at a masked ball - quite a party, by the sounds of it) the king has become synonymous with this style of furniture. The Gustavian style emphasised elegance, simplicity, lightness and comfort and offered a more liveable and more modest interpretation of Neo-Classicism than that found in England or France. It is a pared back version of French neoclassicism. Large mirrors, which maximised the light during long winters, were gilded, while chandeliers tended to have five or seven arms with candleholders. The style spread from the royal palaces of Drottningholm and Gripsholm to the town houses of the well-to-do and out to their country cottages, where it became more rustic and homespun but was still recognisably Gustavian in its origins: countryside homes were decorated with painted furniture; either white-washed or painted grey or soft cream. The light painted finishes provided a reflective quality that was desired during the long dark winters. Life in the region was primarily responsible for shaping Scandinavian design. Long, harsh winters with very few hours of daylight kept people indoors for many months. Besides, most people lived in small houses. So it was imperative to make homes feel cosy yet airy, with every object in it reflecting as much ambient light as possible.
By the early 1920s the phrase on everyone’s lips was Swedish Grace. Swedish Grace was born out of Functionalism, the uncompromising aesthetic that sought to eradicate decoration and produce furniture and homes for the Machine Age. But pure Functionalism was always a bit too extreme for lagom loving Swedes and by the following decade designers like Josef Frank developed a style that was a more easily digestible version of Functionalism– still uncompromisingly modern but with the edges rounded, a style that would make a home feel cosy and comfortable, characterised by elegance and simplicity and even a little (whisper it) decoration. But it was in the middle decades of the twentieth century that Swedish design entered its golden age.
When we think of Scandinavian design in the twentieth century, I suppose it’s the Danes with their sculptural furniture in rosewood and teak and the Finns with their Functionalism that tend to grab the limelight. But, for my money, it’s the Swedes, with their ceramics, glass, textiles and love of pattern who provide a particularly sweet filling in the Scandi design sandwich. Let’s take a closer look at some of the people who put Swedish design on the map.
Bruno Mathsson (1907-88)
Bruno Mathsson was a furniture designer and architect. Like Josef Frank Mathsson believed in giving the machine age
a human face and designed furniture with the user in mind. The Evachair (1934) is one of the outstanding designs of Swedish modernism. It features a seat section constructed of moulded solid wood and woven hemp webbing that follows the body’s contours, providing comfort without the need for upholstery. Mathsson once said ‘comfortable sitting is an art – it ought not to be. Instead the making of chairs has to be done with such an art that the sitting will not be any “art”’. Mathsson practised what he preached and the Eva chair is a perfect synthesis of ergonomics and sculptural craftsmanship.
Stig Lindberg (1916-82)
One of the outstanding figures of mid-century Scandinavian modernism, Stig Lindberg was also one of Sweden’s most prolific and best-known designers. He designed across a range of media, including glassware and textiles, but it is probably his ceramics that are his best known work and which sum up mid-century modern Swedish style. Lindberg’s work has two distinct strands. One is sculptural, with elastic shapes and organic decoration, the other colourful and decorative. His Karnevalseries of ceramics, with decoration based on folk art and looking for all the world like illustrations from childrens’ books, was one of Lindberg’s most successful designs and a highpoint in 20thcentury ceramics.
Erik Hoglund (1932-98)
Sweden’s glass industry began to develop in the early 1920s and, over a short period, Swedish glass became a by-word
for restrained elegance and refinement, with firms like Orrefors and Kosta gaining international acclaim. But, for my money, a far more interesting episode in the history of Swedish glass is provided by Erik Hoglund, a man who brought a punk sensibility to the world of glass. Hoglund was chief designer at Boda Glass from 1953 until 1986. His early work at the firm really pushed the boundaries and included a series of heavily textured bowls and vases that was achieved by throwing potato peeling into the furnace. Hoglund’s designs, with their lumpy forms and earthy colours, were in startling contrast to his contemporaries but, despite this, were a commercial success and today Erik Hoglund is remembered as one of the key figures in mid-century Swedish design.
Did life exist before Mad Men?* It’s a question I’ve been pondering a lot since the peerless series faded to black for the final time (*answer: yes, but it didn’t look as good).
Critics may have focused on the internal machinations at the Sterling Cooper ad agency but, as we all know, the real star of the show was the sumptuous mid-century styled sets: Gorgeous eyefuls of caramel coloured interiors with sleek, sensuously curved furniture and desk lamps that deserved their own mini-series. Has there ever been a tv series so determined to make the viewer drool with couch envy? Of course our love of all things mid-century was already well established by the time Don Draper sparked up his first Lucky Strike. Hard to believe that it’s twenty years since furniture of the 1950s, ‘60s and ‘70s came in from the cold and started making serious headway in the style supplements and salerooms. Fashions come and go; nowhere is this more true than in the conjoined worlds of antiques and interiors, but, two decades on, mid-century is still here, stronger than ever. It remains the chic-style option it always was and, no longer hobbled by its former retroassociations, Mid-Century has taken its place alongside Art Nouveau and Art Deco as an established epoch in 20thcentury design history. Before you embark on a full Mad Men inspired home makeover, here’s my guide to the essentials of mid-century furniture, a style that remains as fresh and innovative in 2016 as it did half a century ago.
What do we mean by mid-century?
As the name suggests, the style dates from the middle decades of the 20thcentury, roughly from the mid-1940s to the late 1960s. Rather like Art Deco, the name was coined long after the period in question. When it first emerged, our parents and grandparents knew it as Contemporary, and as a decorative style it influenced everything from the shape of a sofa, a vase or a coffee pot to the pattern on a tablecloth. It was youthful, stylish and bang up to date, and that was exactly what people wanted. Every style comes with its cultural baggage and mid-century speaks of an era of confidence, one which looked ahead optimistically to a bright future of ever increasing economic prosperity with more money and leisure time to relax and enjoy life. Mid-century interiors were all about chic style and ease of living, and this was also reflected in the furniture. Small wonder it appeals to us so much today.
Deciphering the mid-century style can at first seem something of a challenge. Certainly not all modern furniture from this period will be in the mid-century style. Plastic inflatable furniture from the 1960s, for example, is definitely not mid-century (it would be an example of Pop design, in case you were wondering). As an
illustration, let’s try this: At first sight a Danish rosewood and leather dining chair by Neils Moller seems to have very little in common with an American high-gloss white fibreglass Tulip chair by Eero Saarinen, yet they’re both hailed as mid-century design classics. So what’s going on? Well, I’d say what unites these seemingly unrelated chairs boils down to three things: simple, modern elegance, functional comfort and fine craftsmanship. In my view, it’s the mix of those three essential elements which is the hallmark of mid-century design. Mid-century designers had a dictum: Form follows function, in practice this meant no excess decoration or unnecessary flourishes. In less capable hands it’s a mantra that might have resulted in some very boring furniture. Fortunately for us, the generation of designers who followed it was one of the best the design world has ever seen. With the possible exception of the Regency period in the early 19thcentury, perhaps no other point in history has produced quite the same number of top calibre artists and designers as the 1950s and ‘60s: Charles and Ray Eames, Robin Day, Eero Saarinen, Harry Bertoia and scores more. Unlike the Regency period, however, when only the wealthiest could afford the best furniture, mid-century designers were driven by a mission to bring good design to the many rather than the few and embraced mass-production with the result that their designs are still relatively plentiful today and Amen to that. But the mid-century movement is more than a mere roll-call of designer names (nice though that is). The philosophy of good design available to all, which those great designers championed, was taken up by manufacturers at the more affordable end of the market, with many smaller factories producing good quality, well designed furniture within easy reach of the middle class. The names of most of these designers have mostly been lost to history but today, these pieces can be picked up at reasonable prices while still ticking all the boxes for style and quality.
Where did the mid-century style originate?
After World War Two furniture designers began to move away from the hard lines and polished chrome of pre-war German inspired modernism towards a softer, warmer aesthetic. The great architect-designer Marcel Breuer led the way and others soon followed. The mood was for something more human, more organic and for this everyone looked north. Since the 1930s Scandinavian, especially Finnish, designers had developed a soft modernism, relying on wood rather than metal and drawing on their own native skills in cabinetmaking, producing designs that were simple, understated and elegant. This fitted the mood exactly and Finland, Sweden and Denmark moved centre stage, becoming the benchmark for the best of mid-century style. What we tend to think of as classic mid-century furniture, in rosewood or teak with soft, fluid curves and simplicity of form has its roots in 1940s and ‘50s Scandinavia. It wasn’t just the north that had a part to play in the mid-century look. The 1950s was a time of convergence in design, when Italian, French and British, as well as Nordic influences began to merge together, creating a style that was truly international in its outlook. But at its heart the mid-century style was solidly American. America in the 1950s was the powerhouse economy of the world with previously undreamt of levels of wealth and international influence. A new generation of young designers set out to reshape the look of modern America, pushing the boundaries of furniture design by experimenting with new materials and manufacturing techniques.
Harry Bertoia (1915-78) was born in Italy and moved to the USA in 1930. He studied at the Cranbrook Academy of Fine Arts near Detroit, Michigan and eventually became head of the metal working department at the academy. Bertoia brought a sculptor’s eye to his furniture designs, particularly in the series of wire mesh chairs he designed in the early 1950s. The Bird lounge chair, designed in 1951-2 for Knoll, has been described as looking like a piece of sculpture suspended in space. The chair, which was mass-produced but by hand rather than machine, was made by welding a sheet of metal mesh into shape and then welding it on to the wire legs.
Mid-century designers eagerly embraced the possibilities created by new materials like plywood and plastic. Eero Saarinen (1910-61) was particularly influenced by developments in the field of plastics. His Tulip chair was one of the first chairs designed with a single pedestal base and was revolutionary when it was introduced in 1956. A true Modernist, Saarinen’s chair was a solution to what he saw as the clutter of chair legs under a dining table. A design classic, the Tulip chair anticipates the Pop design movement of the 1960s by a good ten years and is every bit as striking today as it was when it was new.
Although America and Scandinavia drove the mid-century look, other countries produced significant designers whose work is highly desirable today. In Britain, William Plunkett (1928-2013) was a designer with a background in engineering who worked in a highly individual style. Like Harry Bertoia, he combined his engineering skills with a sculptural flair and created a series of elegant metal-framed seating that won many design awards.
An essential ingredient in the mid-century interior was lighting. Lighting has, of course, always had a practical use in the home but was now more closely integrated in the overall decorative scheme. The floor lamp, designed in 1950 by George Rispal is a highpoint in mid-century lighting design. The coolie shade and cylindrical shade provide task and ambient lighting respectively, while the strikingly organic form, inspired by the work of German-French artist and sculptor Hans Arp (1886-1966), means it works as a piece of sculpture every bit as much as a lamp.
Well designed, refined, slick without being cold, at times a little decadent but never camp and very grown up; the appeal of mid-century furniture is highly seductive and it’s easy to understand why, twenty years after its rediscovery, it’s in ruder health than ever.