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The Resurgence of Swedish Design in Modern Interiors
The collections and living styles of artists often reveal intriguing insights into their preferences and inspirations. A panel discussion last fall focused on Judd Furniture, a publication that delves into Donald Judd’s significant contributions to functional art. One notable revelation from his daughter Rainer highlighted Judd’s affinity for Swedish antiques. His iconic Spring Street residence in New York showcased a pine serving table, while early 20th-century Swedish pieces adorned the Cobb House at the Judd Foundation in Marfa, Texas. The minimalist aesthetic of this furniture resonates with Judd’s own artistic values, which prioritized simplicity and essence.
The Cobb House, adorned with Swedish furnishings, at the Judd Foundation in Marfa, Texas
Swedish design, particularly from the first half of the 20th century, has gained significant attention of late. Whether in contemporary homes where rustic creations by designers like Axel Einar Hjorth or elegantly designed pieces by Josef Frank are becoming prestigious acquisitions, or at auction houses where such items fetch six-figure sums, this era of design is experiencing a revival.
In a Connecticut home belonging to Giancarlo and Jane Keltner de Valle, for instance, Hjorth’s chairs complement a traditional Swedish farm table in the breakfast area.
Giancarlo Valle, a designer featured in AD100, has long championed Swedish antiques, seamlessly integrating them into his design projects, including his own countryside retreat. At Casa Valle, the gallery he operates with his wife, they showcase pieces like Hjorth’s 1930 pine Utö dining chairs alongside 1950s lamps by Frank and Ivar Johnsson’s cast-iron garden urns from 1919. These urns are emblematic of the Swedish Grace movement, which presented a more humanistic alternative to the starkness of contemporary Art Deco styling. According to interior designer Lee Mindel, this wave of design served as a sociopolitical response to the upheaval following World War I, merging streamlined forms with neoclassical influences. Notable works from this period, including Anna Petrus’s striking cast-iron and granite table, can be viewed at Mindel’s Galerie56 in New York until January 31, demonstrating that the thoughtful combination of materials can resonate universally.
Moreover, the evolution of Swedish design has been characterized by figures like Gunnar Asplund and Axel Einar Hjorth, who played pivotal roles on the global stage. According to Sofia Sayn-Wittgenstein, a senior specialist at Phillips, their work is noted for its “balanced modernist elegance with a human-centric touch.” The impact of Josef Frank and Estrid Ericson, who founded the iconic emporium Svenskt Tenn, cannot be overstated as they celebrated the aesthetic and functional qualities of Swedish design. Last year’s centenary of Svenskt Tenn was marked by a retrospective exhibition that highlighted this influential heritage. Remarkable auction results, such as a rare 1941 cabinet by Frank selling for $347,600 and a stunning Märta Måås-Fjetterström rug reaching $206,159, indicate a rejuvenated global interest in Swedish craftsmanship.
Additionally, galleries like Hostler Burrows in New York, which has specialized in Scandinavian antiques since 1998, have noted a noteworthy shift in collector trends. Initially focused on Danish design’s rise, featuring names like Finn Juhl and Arne Jacobsen, the gallery has observed an increasing appreciation for Swedish artisanship over time. Kim Hostler elaborates on this trend, emphasizing that Sweden’s wealth of small cabinetmakers and their bespoke designs contribute to a timeless appeal that harmonizes well with both modern and vintage styles.
As Swedish design continues to flourish in contemporary interiors, its understated elegance and focus on functionality resonate with collectors and enthusiasts, suggesting a promising trajectory for this refined aesthetic in the years to come.
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