Einar Hjorth Paintings & Artwork for Sale | Einar Hjorth Art Value Price Guide

Dec. 11, 2024
Axel Einar Hjorth (1888-1959) Side table
Est: €18,000 - €25,000
Axel Einar Hjorth (1888-1959) Side table Pine wood Edited by Nordiska Kompaniet Model created circa 1930 H 58 × Ø 62 cm Provenance : Model created for the Scharinska residence , Umeå, Sweden Axel Einar Hjorth (1888-1959) Table d'appoint Pin Édition Nordiska Kompaniet Modèle créé vers 1930 H 58 × Ø 62 cm Provenance : Modèle réalisé pour l'aménagement de la résidence Scharinska, Umeå, Suède
Piasa
Jun. 18, 2024
AXEL EINAR HJORTH (1888-1959) 'Sune' Table1927for Nordiska Kompaniet, stained birch, stained birch-veneered wood, metal factory label 'OR 32787-12 3 29'height 30in (76.2cm); diameter 43 1/2in (110.5cm)
Est: $4,000 - $6,000
AXEL EINAR HJORTH (1888-1959) 'Sune' Table 1927 for Nordiska Kompaniet, stained birch, stained birch-veneered wood, metal factory label 'OR 32787-12 3 29' height 30in (76.2cm); diameter 43 1/2in (110.5cm)
Bonhams
Nov. 22, 2023
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö chair. Wood. It has signs of use and the wood is slightly open.
Est: €2,000 - €3,000
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö Chair. Wood. It shows signs of use and the wood is slightly open. Measurements: 93,5 x 48 x 48 cm. Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer at NK (Nordiska Kompaniet, where he worked from 1927 to 1938. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Nov. 22, 2023
AXEL EINAR HJORTH (Sweden, 1888-1959). Utö bench. Pinewood. It has signs of use and the wood is slightly open.
Est: €3,000 - €4,000
AXEL EINAR HJORTH (Sweden, 1888-1959). Banquette Utö. Pine wood. It shows signs of use and the wood is slightly open. Measurements: 78 x 130 x 44 cm. This "Utö" bench belongs to the Sportstugemöble furniture line of the Swedish designer Axel Einar Hjorth, which has a rather simple but well thought-out design. The structure is made of pine, blending the aesthetics of traditional rural craftsmanship with international modernism. Produced by AB Nordiska Kompaniet, this bench belongs to Hjorth's line of modernist cabin furniture from the 1930s. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Nov. 22, 2023
AXEL EINAR HJORTH (Sweden, 1888-1959). Dining table, Utö Series. Pinewood. It has marks of use and damage to the wood.
Est: €4,000 - €5,000
AXEL EINAR HJORTH (Sweden, 1888-1959). Dining table, Utö Series. Pine wood. It shows signs of use and damage to the wood. Measurements: 73 x 170 x 54, 5 cm. Produced by AB Nordiska Kompaniet, this table belongs to Hjorth's line of modernist cabin furniture from the 1930s. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Mar. 29, 2023
AXEL EINAR HJORTH (1888-1959) Dining Table1930sfor Nordiska Kompaniet, Swedish pineheight 29 1/2in (75cm); length 62in (157.5cm); width 25 1/4in (65cm)
Est: $3,000 - $5,000
AXEL EINAR HJORTH (1888-1959) Dining Table 1930s for Nordiska Kompaniet, Swedish pine height 29 1/2in (75cm); length 62in (157.5cm); width 25 1/4in (65cm)
Bonhams
Mar. 15, 2023
AXEL EINAR HJORTH (1888-1959) 'FUNKIS' CHAIR, CIRCA 1930 34 1/8 x 18 1/4 x
Est: $1,000 - $1,500
AXEL EINAR HJORTH (1888-1959) 'FUNKIS' CHAIR, CIRCA 1930 34 1/8 x 18 1/4 x 17 1/8 in. (86.6 x 46.3 x 43.5 cm)
Christie's
Dec. 15, 2022
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovo chair. Wood. Presents marks of use.
Est: €2,000 - €3,000
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö Chair. Wood. With marks of use. Measurements: 93,5 x 48 x 48 cm. Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Dec. 15, 2022
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovo chair. Wood. Presents marks of use.
Est: €2,000 - €3,000
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö Chair. Wood. With marks of use. Measurements: 93,5 x 48 x 48 cm. Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Dec. 15, 2022
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovo table. Wood. Presents marks of use.
Est: €4,000 - €5,000
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö Table. Wood. With marks of use. Measurements: 50,5 x 60 cm (diameter). Coffee table made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Dec. 15, 2022
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovo stool. Wood. Presents marks of use.
Est: €2,500 - €3,500
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö Stool. Wood. With marks of use. Measurements: 44 x 48 x 37,5 cm. Stool made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Dec. 15, 2022
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovo stool. Wood. Presents marks of use.
Est: €2,000 - €3,000
AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö Stool. Wood. With marks of use. Measurements: 45 x 40 cm (diameter). Stool made of pine wood with a sober and robust finish. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938. Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Setdart Auction House
Jun. 23, 2021
Axel Einar Hjorth (1888-1959) Mirror
Est: €5,000 - €7,000
Axel Einar Hjorth (1888-1959) Mirror Mirror, steel and painted wood Edited by Nordiska Kompaniet Manufacturer's plaque on the back Model created in 1930 Ø 79,5 × P 2,5 cm Axel Einar Hjorth (1888-1959) Miroir Miroir, acier et bois peint Édition Nordiska Kompaniet Plaque de l'éditeur au dos Modèle créé en 1930 Ø 79,5 × P 2,5 cm
Piasa
Dec. 17, 2020
AXEL EINAR HJORTH (1888-1959) Utö Table basse Pin Edition Nordiska Kompanie
Est: €8,000 - €10,000
AXEL EINAR HJORTH (1888-1959) Utö Table basse Pin Edition Nordiska Kompaniet A Utö coffee table by Axel Einar Hjorth, in pinewood for Nordiska Kompaniet - Date de création : 1932 H 47 L 71 P 55 cm
Cornette de Saint-Cyr
Jul. 09, 2020
AXEL EINAR HJORTH (1888-1959)
Est: €1,500 - €2,000
AXEL EINAR HJORTH (1888-1959) Table basse "Utö" à structure ovalisée en mélèze naturel, épais plateau à bords légèrement relevés, ceinture galbée en doucine inversée. An "Utö" larch coffee table. H 48 x L 70 x P 54,5 CM • H 18 7/8 x W 27 1/2 x D 21 1/2 in. €1,500-2,000 BIBLIOGRAPHIE Christian Björk, Thomas Ekström, Eric Ericson, "Axel Einar Hjorth : Svenska Arkitekter Och Formgivare", 2011, modèle reproduit p. 123
Tajan
Oct. 10, 2019
Axel Einar Hjorth (1888-1959) Utö
Est: €15,000 - €20,000
Axel Einar Hjorth (1888-1959) Utö Paire de tabourets Pin Edition NK Nordiska Kompaniet, Stockholm, Sweden Date de création: années 1930 H36,5×L59,5×P36cm
Piasa
Oct. 10, 2019
Axel Einar Hjorth (1888-1959) Typenko
Est: €3,000 - €4,000
Axel Einar Hjorth (1888-1959) Typenko Table basse Bouleau laqué et acier inoxydable Edition Nordiska Kompaniet Date de création: vers 1930 H55×Ø80cm Bibliographie : C Björk, T Ekström, E. Ericson, «Axel Einar Hjorth Möbelarkitekt», Signum,2009, modèle reproduit p. 123
Piasa
Oct. 10, 2019
Axel Einar Hjorth (1888-1959) Paire de tables d’appoint
Est: €6,000 - €9,000
Axel Einar Hjorth (1888-1959) Paire de tables d'appoint Acier nickelé et stratifié Edition NK Nordiska Kompaniet Marque 'NK R 34728 C 2 29 74' Date de création: 1930 H74×Ø60,5cm Provenance : Tosse bakery Stockholm 1930
Piasa
Oct. 10, 2019
Axel Einar Hjorth (1888-1959) Roma
Est: €4,000 - €6,000
Axel Einar Hjorth (1888-1959) Roma Commode Bois Edition Nordiska Kompaniet Date de création: vers 1930 H85×L168×P50cm
Piasa
Mar. 12, 2019
Axel Einar Hjorth (1888-1959) Série de huit chaises
Est: €12,000 - €18,000
Axel Einar Hjorth (1888-1959) Série de huit chaises Chêne, velours bleu, clous en laiton Date de création : vers 1938 H 108 x L 49 x P 54 cm
Piasa
Mar. 12, 2019
Axel Einar Hjorth (1888-1959) Lovö
Est: €8,000 - €12,000
Axel Einar Hjorth (1888-1959) Lovö Canapé Pin et tissu Edition Nordiska Kompaniet Date de création : vers 1930 H 85× L 216 × P 80 cm
Piasa
Mar. 12, 2019
Axel Einar Hjorth (1888-1959) Sandhamn
Est: €2,000 - €3,000
Axel Einar Hjorth (1888-1959) Sandhamn Encoignure Pin Edition Nordiska Kompaniet Date de création : vers 1930 H 180 x L 90 x P 55 cm
Piasa
May. 28, 2018
AXEL EINAR HJORT (1888-1959) Birka
Est: €8,000 - €12,000
AXEL EINAR HJORT (1888-1959) Birka Enfilade Aulne Date de création : vers 1930 H 75 x L 165 x P 48 cm Sideboard Alder 29,5x 64,9 x 18,8 in
Leclere - Maison de ventes
Dec. 12, 2016
AXEL EINAR HJORTH (1888-1959) AN 'UTÖ' TABLE, CIRCA 1930 19 in. (48.3 cm.)
Est: $7,000 - $9,000
AXEL EINAR HJORTH (1888-1959) AN 'UTÖ' TABLE, CIRCA 1930 19 in. (48.3 cm.) high, 27 ½ in. (69.9 cm.) wide, 21 ½ in. (54.6 cm.) deep
Christie's
Nov. 29, 2015
AXEL EINAR HJORTH (1888-1959)
Est: €10,000 - €15,000
AXEL EINAR HJORTH (1888-1959) Uto Table Pin massif. Table Massief den. Circa 1930. Ed. Nordiska Kompaniet. H.48 cm L.71 cm P.54 cm
Cornette de Saint-Cyr-Bruxelles
Nov. 09, 2015
Axel Einar Hjorth ( 1888-1959)Guéridon
Est: €4,000 - €6,000
Axel Einar Hjorth ( 1888-1959) Guéridon Bois laqué noir et granit Date de création : années 1920 H66 x D73 cm
Piasa
Feb. 10, 2015
Axel-Einar Hjorth (1888-1959)UtöEnsemble de six chaisesPinDate de création : années 1930H 80 × L 45,5 × P 41 cm
Est: €5,500 - €7,500
Axel-Einar Hjorth (1888-1959) Utö Ensemble de six chaises Pin Date de création : années 1930 H 80 × L 45,5 × P 41 cm
Piasa
Feb. 10, 2015
Axel-Einar Hjorth (1888-1959)Paire de fauteuilsPinÉdition Nordiska KompanietDate de création : 1930H 83 × L 86 × P 65 cm
Est: €15,000 - €20,000
Axel-Einar Hjorth (1888-1959) Paire de fauteuils Pin Édition Nordiska Kompaniet Date de création : 1930 H 83 × L 86 × P 65 cm
Piasa
Nov. 17, 2004
AXEL EINAR HJORT, 1899-1959
Est: €5,000 - €7,000
le plateau en feuille d'étain gravé de la carte du monde. Pose sur deux pieds néo-classiques à cannelures terminés par deux patins reliés par une entretoise. Renseignements gracieusement fournis par la galerie Eric Philippe
Sotheby's
Nov. 17, 2004
AXEL EINAR HJORT, 1899-1959
Est: €3,000 - €5,000
le plateau en feuille d'étain gravé d'un décor de paradis : Adam et Eve entourés d'animaux. Pose sur quatre pieds carrés surmontés d'une corolle reliés par une entretoise en X gravée d'un motif stylisé de lyre. Renseignements gracieusement fournis par la galerie Eric Philippe
Sotheby's

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