Danish Sofa in Leather and Rosewood by H. W. Klein for Bramin, 1970s

Swedish furniture designer Alf Svensson (1929-1992) was particularly active in the 1950s through the ‘70s, designing , storage , tables , and seating  for a variety of influential manufacturers. Not a wealth of information is available on Svensson, and even though it is evident that his work spans various fields of furniture design, it is his seating designs that are best represented on the vintage market.

During the 1950s, like many of his Swedish and Scandinavian contemporaries, Svensson utilized traditional materials such as richly grained teak and rosewood, and leather to create pieces that were typically designed in the Scandinavian modern style. Examples include the Contour Lounge Chair (1950s) and the Te-Ve Chair (1953) for Ljungs Industrier; the Congo Easy Chair (1954) for Haga Fors; the sectional Domus 1 Chair (1955) for Dux, which was originally designed for the H55 exhibition in Helsinborg, Sweden; and a high back reclining lounge chair (1957) for Fritz Hansen. Svensson also designed tables for Tingströms, lighting for Bergboms, and storage solutions for Bjästa.

Svensson’s designs for the Swedish furniture maker Dux are arguably his most well-known. In particular, his collection of easy chairs and lounge chairs - known as the Form Series - which was designed in the 1960s and ‘70s. Other designs include, the Galaxy Chair (1968 with Yngve Sandström), which has a molded plastic shell that rests on a white lacquered aluminum swivel-base; and the swiveling Contourette Roto Chair (1960s).

Originally known as N.A. Jørgensen, Danish furniture manufacturer Bramin was founded in Bramming, a region on the west coast of the Jutland peninsula. Throughout the 1950s, '60s, and '70s, the company produced seating, tables, and casegoods in a style representative of the Danish mid-century modern era.

From Bramin’s catalogues and advertisements, we can ascertain that N.A. Jørgensen launched the Bramin brand around 1957 or 1958. In the early 1960s, Bramin's ad campaigns promised "Deres garanti for kvalitet form og function" or “Quality, form, and function: guaranteed,” using strong, modern imagery. From then on, the more traditionally-oriented N.A. Jørgensens Møbelfabrik took a back seat. It was not until the mid-1960s, however, that the striking Bramin logo was created, with the rounded, lowercase central “a” standing out from the remaining block letters.

In its heydey, Bramin collaborated with many well respected Danish designers, such as Johannes Andersen, Hans Olsen, Kurt Østervig, and Frank Reenskaug. However, Bramin’s most successful relationship was undoubtedly with H.W Klein, a Norwegian-born designer who moved to Denmark in 1960 to work for the company. Klein's most notable design is the Ønskestolen (mid-1960s), a padded leather lounge chair on a five-star swivel base, but he was also known for wide range of living room suites, dining suites, and storage options. Other memorable Bramin pieces include the classic Rocking Chair No. 182 by Reenskaug (circa 1958) and the idiosyncratically asymmetrical Chair No. 168 by Olsen (circa 1956).

For decades, the region of Bramming was a major hub for the Danish furniture industry, boasting 20 factories at its peak. Particularly hard hit by the global recession in the early-1980s, many Bramming-based businesses closed, Bramin included. After the closure, Klein moved to San Francisco. Though much of Bramin's history has been lost over time, the company's prolific furniture output has found a vibrant place in today's vintage market.