Livingroom with Otto Schulz Cabinet
The Ambassad armchair brings a contemporary layer to the composition, pairing Mats Theselius’ expressive material language with Källemo’s tradition of uncompromising craftsmanship.
Defined by its copper frame and untreated natural leather, the chair carries a strong sense of material honesty. The curved backrest wraps gently into the armrests, creating an enveloping silhouette, while the marked leather surface gives the piece a tactile, time-worn character. As both copper and leather continue to patinate, the chair becomes increasingly individual with age.
Placed among Scandinavian and European mid-century furniture, the Ambassad armchair acts as a quiet counterpoint – sculptural, raw and refined, with a presence that reflects Mats Theselius’ interest in craftsmanship, material experimentation and furniture as object.
A composed living room setting by Studio Schalling, shaped around a curated collection of Scandinavian and European mid-century furniture, lighting and objects.
At the centre of the interior are an Otto Schulz cabinet and a Viggo Boesen sofa, surrounded by sculptural seating, brass lighting, textured materials and warm wood tones. The arrangement explores the dialogue between material, form and atmosphere – where each piece retains its own presence while contributing to a larger spatial composition.
Created as part of Studio Schalling’s Interiors series, the setting presents collectible design not as separate objects, but as part of a layered and inhabitable environment.
A floor lamp attributed to Paavo Tynell and produced by Idman creates a soft atmospheric backdrop, its patinated brass stem and woven wooden shade adding warmth, texture and vertical rhythm to the setting. The delicate looped details on the stem introduce a subtle ornamental quality, reflecting the refined craftsmanship and poetic approach often associated with Tynell’s work.
Placed on the table below, a rare Farsta ceramic bowl by Wilhelm Kåge for Gustavsberg introduces a grounded, sculptural presence. Its carved stoneware body, marked by diagonal ridges and layered earthy glazes, contrasts the delicacy of the lamp with a more elemental expression.
A high-back easy chair by Frits Henningsen gives this setting a strong sculptural presence, its black leather upholstery held within a flowing solid oak frame. Designed and produced in Denmark during the 1950s, the chair reflects Henningsen’s exceptional command of proportion, joinery and organic form.
The tall, winged backrest curves gently upward, while the sweeping armrests extend from the front legs in one continuous movement. Together, the leather and oak create a balance of softness and structure, with the natural patina adding warmth and depth to the piece.
In front, a circular elm coffee table attributed to Axel Einar Hjorth for Nordiska Kompaniet grounds the arrangement with bold geometry and rich wood grain. The “Record” mirror, designed by Hjorth for NK in 1932, completes the composition above, its round form and visible metal brackets adding a precise, architectural counterpoint.
A floor lamp by Carl-Axel Acking brings a slender architectural presence, its leather-wrapped stem and perforated brass shade adding both vertical rhythm and material warmth. Designed as model no. 2646 and produced by Bröderna Malmströms Metallvarufabrik, the lamp reflects the precision and restraint of Swedish modernism.
The Otto Schulz cabinet for Boet forms the central backdrop, its light imitation leather panels punctuated by a precise grid of brass Bo-point rivets. Framed by darker wood, the cabinet balances softness and structure, ornament and function – a hallmark of Schulz’s distinctive approach to furniture design.
Beside it, a 1950s oil painting by Tore Nyberg introduces a graphic counterpoint. Its abstract geometric forms in muted earthy tones connect to the surrounding materials while adding a sharper modernist layer. Together, the three pieces create a composed dialogue of leather, brass, wood and painted form.
The Viggo Boesen sofa brings a soft, organic centre of gravity, its rounded form and newly upholstered sheepskin creating a strong contrast to the more architectural pieces around it. Designed in Denmark during the 1930s-1940s and produced by Slagelse Møbelfabrik, the sofa reflects Boesen’s expressive approach to comfort, where furniture is both functional and embracing.
Its sculptural oak frame, with gently splayed legs and sweeping armrests, gives the piece a sense of movement beneath the voluminous upholstery. The natural sheepskin enhances the sofa’s warmth and tactility, emphasizing the curved silhouette while adding softness to the surrounding material palette.
Across the surfaces, smaller objects introduce additional layers of texture and form: a pewter jar by Estrid Ericson for Svenskt Tenn, a ceramic vase by Berndt Friberg for Gustavsberg, and a bronze Art Deco vase by Birka Metall. Together, these objects move the scene beyond furniture, adding moments of Swedish Grace, studio ceramics and metalwork to the visual narrative.
Hans Bergström’s ceiling lamp model 40 for Ateljé Lyktan defines this view through its suspended rhythm of perforated brass shades. Designed in Sweden during the 1940s, the lamp combines modernist clarity with a softer decorative quality, allowing the brass to appear both precise and atmospheric.
The three shades hang from twisted textile cords, their patinated surfaces and small perforations adding depth, texture and a graphic pattern to the wall. The result is a piece that feels architectural yet delicate, balancing functional lighting with sculptural presence.
On the table below, a ceramic vase by Berndt Friberg for Gustavsberg adds a darker, more grounded counterpoint. Its elongated silhouette and lustrous hare’s fur glaze introduce another register of Swedish craftsmanship, bringing together brass, ceramic and shadow in a refined material exchange.