Mirror with table

This mirror and side table set, produced in Sweden during the 1930s by an unknown designer, exemplifies the restrained functionalism and material clarity that marked Swedish decorative arts in the interwar period. The combination of lacquered wood and pewter reflects a material palette common to the era, balancing modest luxury with utilitarian integrity.

The mirror features a rectangular format, framed in pewter with a narrow profile that emphasizes verticality and clean lines. The pewter frame exhibits a soft, matte sheen that has developed a gently mottled patina over time, consistent with the material’s natural aging process. The wear is mild and evenly distributed, preserving the simplicity of the original design while offering a visual testament to its age.

The accompanying side table is composed of two rectangular black-lacquered wood shelves, supported by four cylindrical pewter legs. The shelves are connected at the back by a solid lacquered panel, providing stability and visual cohesion. The black lacquer finish has developed character through use, with surface scratches, scuffs, and edge wear revealing the lighter wood grain beneath in selected areas. These signs of age contribute to the authenticity of the piece, aligning with its early 20th-century origin.

The pewter legs retain a brushed metallic texture and show slight tarnishing, particularly at the joints and base, which is characteristic of aged pewter. Despite this, the structural integrity remains intact and the table stands solidly without distortion or wobbling.

The dimensions of the side table are 50 cm in width, 25 cm in depth, and 50.5 cm in height (19.7 x 9.8 x 19.9 inches), while the mirror measures 55 cm in width, 2 cm in depth, and 85 cm in height (21.7 x 0.8 x 33.5 inches). These proportions are well suited for use in entryways, dressing areas, or small living spaces where understated elegance is desired.

Together, this set illustrates the stylistic tendencies of 1930s Swedish design: minimal ornamentation, material expressiveness, and clear functional intent. Although the designer remains unidentified, the craftsmanship and formal restraint position the set within the broader Scandinavian modernist movement, foreshadowing the principles that would define postwar design in the region.