Harald Notini, pair of wall lamps model "8596" for Arvid Böhlmarks Lampfabrik, circa 1950.

These Model 8596 wall lamps, designed by Harald Notini (1879–1959) for Arvid Böhlmarks Lampfabrik, are an elegant expression of the softer, more organic direction of Swedish Modern lighting in the 1940s and early 1950s. The model was already illustrated in Böhlmarks’ 1946 product catalogue, while it also appears in the company’s 1950 catalogue. Each sconce is composed of a sculpturally folded white or ivory-lacquered metal reflector paired with a smaller, gently curved brass shield at the front. The broad pale reflector bends outward from the wall in an asymmetric, almost petal-like form, concealing the light source while directing illumination upward and back against the wall. In contrast, the warm brass front plate has a softly modelled, shield-like silhouette and is pierced with a delicate floral pattern. Light escaping through these tiny perforations gives the otherwise restrained metalwork a subtle decorative sparkle. Period examples are approximately 30–31 cm high and 21 cm wide. The design is particularly characteristic of Notini's transition from the decorative refinement of Swedish Grace toward the simplified forms of mid-century modernism. Rather than relying on conventional ornament, Model 8596 makes the materials and the manipulation of light part of the decoration: cool pale lacquer acts as a luminous backdrop, while the curved brass surface introduces warmth, depth and a restrained floral motif. Notini had served as artistic director at Böhlmarks from 1916 and was instrumental in moving the firm's lighting toward increasingly modern designs. 

Dimensions : Large : 20 cm / Height : 30 cm / Depth 14 cm 

About the designer : 

Harald Notini (1879–1959) is an interesting figure because his name is much less widely known internationally than designers such as Josef Frank or Gunnar Asplund, yet he played a substantial role in the development of Swedish lighting design during the first half of the 20th century. Sweden's Nationalmuseum identifies him as a Swedish designer, born in Stockholm on 26 December 1879 and dying there on 25 March 1959.

Notini came from an artistic family: his father was the sculptor Axel Notini. Harald trained as a sculptor and interior architect at Högre konstindustriella skolan in Stockholm, the institution that later became Konstfack. This background is worth noting when looking at his lamps: even relatively simple pieces tend to be conceived three-dimensionally, with overlapping planes, curved metal and carefully controlled relationships between the light source and its reflector.

The decisive point in his career came in 1916, when he joined Arvid Böhlmarks Lampfabrik as artistic director. His responsibilities also extended to the glass production at Pukebergs Glasbruk, giving him access to both metalworking and glass manufacture. He remained associated with Böhlmarks for essentially the remainder of his working life; according to material cited by Bukowskis, he still maintained his office and duties there in 1958, at the age of 79.

What makes Notini particularly interesting is the extraordinary stylistic span of that career. His work effectively follows Swedish decorative arts through several major phases. During the 1920s, he produced refined Swedish Grace designs, often combining classical proportions and restrained ornament. By the Stockholm Exhibition of 1930, his work included markedly more rigorous Functionalist lighting. During the 1940s and 1950s, his designs developed into what we now associate with Swedish Modern: softer organic shapes and warm combinations of brass, glass, wood, leather and painted metal.

There is good institutional evidence for his importance beyond the auction market. Nationalmuseum in Stockholm holds a Notini floor lamp designed in 1935 and manufactured by Böhlmarks. It combines stainless steel, frosted glass, lacquered sheet metal, wood and other metal components—a useful example of how freely he combined industrial materials.