Description

What I like

I like this Swedish chandelier for the very great simplicity of its black lacquered metal structure, which is particularly evident in the elegant spray that joins the 6 arms of light, as well as in the staggering of the three crowns bearing the plates of glass.

I like the refinement of its metallic, solid aspect, which counterbalances the fragility of the glass of its plates.

I like the choice of using 3 colors for this molded glass: this molded glass is quite typical of Boda Glasburk’s production, always qualitative.

Finally, I like the very Scandinavian spirit of the subjects covered: reindeer, longship, rider…

To be honest, I  like to find all the  Scandinavian design of the 1960s, sober but always poetic, never brutal in a chandelier of a size suitable for modern interiors,.

Technical description

Erik Höglund (1932-1998) and Boda Glasburk, Sweden for Holm Sorensen Denmark

Chandelier in black lacquered metal, formed by 6 curved arms carrying false candles and joined together to form a sheaf at the lower part of this chandelier, and 3 crowns of decreasing size when going up, respectively carrying 6 plates, 6 plates and at the very top, 3 transparent, amber or very light blue molded glass plates with Nordic subjects: longship, horseman, reindeer…; a chain connects the chandelier to the bail cover turned in the same black lacquered metal.

Holm Sorensen – Denmark – label under the bail cover.

Circa 1960.

Small scratch on the bail cover.

Dimensions and weight

Height without the chain: 55 cm – Diameter: 53.5 cm

Weight: 3.7kg

Mix & Match

This Swedish chandelier is so simple but at the same time so refined in its details and the use of quality materials that it exceeds the period of its creation. Certainly, it will elegantly light up the waxed oak living room furniture by Borge Jensen and Sonne, from the same 1960s, or the coffee table with a bronze black top with abstract decoration by Jules de Covemaeker alias Juliette Belarti. We will read in its light, lying well on the lounge chair and its ottoman in oak and red striped fabric around 1960.

But why not let it rub shoulders with the pair of G10 armchairs by Pierre Guariche for Airborne, slightly older (TO COME NEXT), light up the asymmetrical vase by Jean de Lespinasse, or the small tapestry by Daniel de Linières “Vent d’ été- Summer wind”, with a frank palette on a greige background?

In an entrance, our chandelier can develop its aura with neoclassical or baroque furniture: it is elegant enough to support other styles, as long as the design is right.