Modernity Stockholm

A room arranged around texture, light, proportion and man's best friend.

From the Ditzel 'Basket' chair and flat weave carpet to the 'Bridge' lamp and sideboard, each piece adds warmth and character to the composition. Together, they form a calm interior with a distinctly Nordic sensibility.

Pieces featured:
'Basket Club' Armchair
Nanna Ditzel, Denmark, 1950s

Painting
Rune Hagberg, Sweden, 1960s

Sculpture 'Lystra'
Alvina Jakobsson, Sweden, 2023

Sideboard
Erik Wørts for Kjellerup Møbelfabrik, Denmark, 1961

Floor lamp 'Bridge'
Severin Hansen Jr., Denmark, 1950s

Flatweave rug
Brita Grahn, Sweden, 1950s

Photos

Designer Highlight — Frits Henningsen (1889-1965)

Frits Henningsen was one of the most distinguished Danish furniture designers of the twentieth century, celebrated both for his design talent and his exceptional mastery of cabinetmaking. From his own workshop in the heart of Copenhagen, he personally oversaw every stage of the design and production process, maintaining remarkably exacting standards of quality. An active member of the Danish Cabinetmakers’ Guild from 1927 onward, he quickly earned the respect of his peers through his meticulous attention to detail, uncompromising craftsmanship, and dedication to traditional woodworking techniques.

Henningsen’s furniture is distinguished by a refined elegance combined with a deep sense of comfort. Many of his works were crafted in precious exotic hardwoods such as mahogany, materials that allowed him to explore rich textures and sophisticated forms. His design language favoured graceful, flowing curves, particularly in the arms and backrests of his chairs and sofas. He believed that the softness of these forms not only enhanced physical comfort but also contributed to creating a warm and welcoming domestic environment.

In the early 1940s, Henningsen deliberately distanced himself from the younger generation of Danish designers who embraced straight lines and a more minimalist aesthetic. Instead, he championed the enduring value of organic forms and the importance of exceptional craftsmanship.

Today, Frits Henningsen is regarded as one of the leading figures of post-war Danish furniture design, and his work remains highly admired for its timeless elegance, craftsmanship, and enduring quality.

Selected works shown:

Wingback chair designed by Frits Henningsen, Denmark, 1935

Sofa designed by Frits Henningsen, Denmark, 1936

Occasional table designed by Frits Henningsen, Denmark, 1940s

Sofa designed by Frits Henningsen, Denmark, 1930s

A pair of armchairs designed by Frits Henningsen, Denmark, 1940s

Photo

Few Swedish ceramicists achieved the precision of Berndt Friberg.

At the Gustavsberg Studio, Friberg created stoneware of exceptional refinement, combining perfectly balanced hand-thrown forms with glazes of remarkable depth and subtlety. His work was shaped by repetition, patience and an exacting eye for proportion, with each bowl, vase and bottle carrying its own signature mark.

Friberg’s mastery of glaze and firing gave his ceramics their distinctive surface: soft, luminous and finely varied, revealing a deep understanding of material and process.

In the second historical photograph, Friberg is pictured with King Gustaf VI Adolf of Sweden (left), a devoted and discerning collector of his work. The King was known to visit exhibitions before opening, allowing him to choose his favourite pieces in private.

Browse our full collection of Berndt Friberg ceramics on the Modernity website.

Photography credits:
© Lennart Olson / Värmdö Kommun – DigitaltMuseum
© Malms Reportagebyrå / Värmdö Kommun – DigitaltMuseum
© Victor Malmström / Värmdö Kommun – DigitaltMuseum

Focus — Animals in design

A collection of design objects inspired by animals. Each one starts from an animal and turns it into an object, somewhere between functional use and sculptural form.

Selected works shown:

Sculpture 'Puppy in the world' by Sonja Petterson, Sweden, 2000.

Dish designed by Allan Ebeling, Sweden, 1930

Relief Sculpture 'Lion's Head', Anonymous, Sweden, 1983

Vase model 352 designed by Vicke Lindstrand, Sweden, 1944-48

Sculpture by Hugo Liisberg, Denmark, early 1900s

Rug 'Hästhagen' designed by Märta Måås-Fjetterström for Märta Måås-Fjetterström AB, Sweden, 1923

Vase 'Fiskgraal' designed by Edward Hald for Orrefors, Sweden, 1956

Vase 'Fabula and Ariel' designed by Per B Sundberg for Orrefors, Sweden, 2004

Lynx sculpture designed by Michael Schilkin for Arabia, Finland, 1950s

Lizard sculpture, Anonymous, 1960s

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Object of the week — Unique cabinet designed by Otto Schulz for Boet, Sweden, 1939

This unique cabinet was designed by Otto Schulz for Boet in 1939. The front is divided into twelve panels, each decorated with an inlaid zodiac sign set against a pale burr wood surface.

The use of zodiac imagery reflects Schulz’s interest in symbolic decoration and the broader fascination with astrology and the occult in 1930s Europe. Rather than following a single stylistic direction, Schulz often combined functionalist structure with classical references, historical motifs and highly personal ornament.

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Designer Highlight — Ib Kofod-Larsen (1921–2003)

Ib Kofod-Larsen was a Danish furniture designer known for his refined contribution to the Scandinavian Modern movement. Born in Denmark in 1921, he first trained as a cabinetmaker before studying architecture at the Royal Danish Academy of Fine Arts in Copenhagen. This dual background shaped his distinctive approach to furniture design, combining exceptional craftsmanship with elegant, sculptural forms.

During the 1950s and 1960s, Kofod-Larsen gained international recognition for his refined and timeless creations. Iconic pieces such as the Penguin Chair, Seal Chair, and the celebrated Elizabeth Chair showcase his mastery of proportion, organic lines, and luxurious materials including teak, rosewood, and leather. His work is characterized by a remarkable balance between visual lightness, comfort, and functionality.

Unlike some of his more publicly recognized contemporaries, Kofod-Larsen maintained a relatively discreet career while collaborating with manufacturers across Denmark, Sweden, the United Kingdom, and the United States.Today, his designs are highly appreciated and remain emblematic of the warmth and refinement of mid-century Scandinavian furniture design.

Selected works shown:

Daybed designed by Ib Kofod-Larsen, Denmark, 1950s

Occasional table designed by Ib Kofod-Larsen for Christensen & Larsen
Denmark, 1960s

Pair of 'Elizabeth' armchairs designed by Ib Kofod-Larsen for Christensen & Larsen, Denmark, 1958

Chest of drawers attributed to Ib Kofod-Larsen for Illums Bolighus, Denmark, 1960s

Photo

Design Miami Paris, PAD fair in London and in-house exhibitions at our Pimlico gallery. Modernity’s fall agenda is firmed up.

Rune Hagberg & Josef Frank Exhibition
9–30 September 2026 | Modernity London

A unique dialogue between Rune Hagberg’s abstract art and Josef Frank’s vibrant, timeless design. Opening night: 9 September.

PAD London
13–18 October 2026 | London

Modernity returns to London in Mayfair with a curated presentation of exceptional Scandinavian design.

Design Miami Paris
20–25 October 2026 | Paris

Modernity makes its debut at Paris, presenting a refined selection of works at the historic Hôtel de Maisons in Paris’s 7th arrondissement.

"It is with excitement that we will be part of the exceptional design fair in Paris with a strong focus on vintage design in October”, says Modernity’s Andrew Duncanson.

Object of the week — Table mirror attributed to Uno Åhrén for Svenskt Tenn, Sweden, 1920s

This table mirror was designed for Svenskt Tenn, Stockholm, in the late 1920s and produced from around 1929. It appears in the company’s catalogue issued circa 1930 as model no. 466 and was exhibited at the Swedish Art Industry Exhibition in London in 1931. The mirror belongs to the period often described as Swedish Grace, when classical proportion and ornament were combined with emerging functionalist ideas.

The mirror is conceived as a triptych with three hinged mirrored glass panels set on a stepped base. The structure and reverse are executed in pewter, hand engraved with symmetrical vegetal scrollwork and framing borders. The decoration reflects a restrained historicist approach, while the hinged construction allows for practical use as a tabletop mirror. The careful integration of ornament and form is characteristic of Svenskt Tenn’s production during this period.

Svenskt Tenn was founded in 1924 by Estrid Ericson and quickly established itself as a leading force in Swedish interior design. The firm was known for combining fine craftsmanship with a modern approach to domestic objects and interiors, gaining both national and international recognition and played a defining role in shaping Swedish modernism.

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Designer Highlight — Estrid Ericson (1894-1981)

Estrid Ericson was a defining figure in 20th-century Swedish design and the driving force behind Svenskt Tenn, established in Stockholm in 1924. Her ambition was clear from the outset: to elevate Swedish craftsmanship by pairing traditional making techniques with a more contemporary visual language that felt refined, functional, and culturally confident.

In the company’s early years, Ericson’s most influential work came through pewter. During the late 1920s and early 1930s, she developed a distinctive body of pewter objects : vases, trays, and decorative vessels, that helped define Svenskt Tenn’s identity. These pieces balanced restraint with ornament in a way that felt modern without abandoning craft heritage.

What sets Ericson apart is how closely she worked with design development. She was not just a founder or curator of taste; she actively shaped models, guided proportions, and refined objects so they aligned with her vision of clarity and elegance. Her approach consistently favored simplicity of form, but never at the expense of richness in surface or feeling.

Her collaboration with Austrian architect and designer Josef Frank later became central to Svenskt Tenn’s evolution, expanding the company’s language into expressive patterns, bold color, and organic forms. This partnership ultimately shifted Svenskt Tenn from a purveyor of refined objects into a broader interior design philosophy.

Today, Ericson’s legacy sits at the intersection of craft and modern design thinking. Her work helped establish Stockholm as an important node in Scandinavian design history, and Svenskt Tenn remains one of its most recognisable design institutions.

Selected works shown:

Mirror model A 2492 designed by Estrid Ericson for Svenskt Tenn, Sweden, 1957

Pewter jar with lid designed by Estrid Ericson for Svenskt Tenn, Sweden, 1930

Vase designed by Estrid Ericson for Svenskt Tenn, Sweden, 1928.

Necklace 'Etrurian' designed by Estrid Ericson for Svenskt Tenn, Sweden, 1940s

Brooch designed by Estrid Ericson, 1950s/60s.

Photo

Object of the week — A pair of wall lamps 'Model 6200' designed by Paavo Tynell, Finland, 1950s

A pair of wall lamps, model 6200, designed by Paavo Tynell and produced in Finland during the 1950s. Executed in brass, the lamps have a tall rectangular form with softly rounded corners and perforated star motifs across the front and sides. The perforations diffuse the light and are a recurring feature in several of Tynell’s best-known lighting designs from the period. Narrow ventilation slots at the base emphasise the lamps’ vertical proportions while serving a practical function.

Model 6200 was produced during a period when Tynell collaborated closely with architects and public interiors in Finland and abroad. In contrast to his more elaborate chandeliers and ceiling fixtures, this model demonstrates a more restrained and architectural approach, reflecting the influence of mid-century modern interiors of the post-war period. The pared-back geometry is balanced by the warmth of the brass and the decorative punched detailing, which softens the overall appearance.

Model 6200 illustrates Tynell’s ability to combine functional lighting with subtle ornamental detail in a distinctly Nordic modern idiom.

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